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ASSOCIATION 7 INC 


i 


AeMCE Rel CA Nv A 


TION OF THE 


. 
- 


NEW YORK 
1927 


war es 


agit 


rt 


PREE PUBLIC EXHEBITION 


From Saturday - January 8 - To Time of Sale 
Weekdays 9 a.m. to 6 p.m. 7 Sunday 2 to 5 p.m. 


UNRESTRICTED PUBLIC SALE 
Thursday : Friday co Saturday Afternoons 
January 13-14 © 15 beginning at 2:15 


Pb TION AND SALE AT THE 


American Art Galleries 
Madison Avenue: 56th to 57th Street 
New York City 


> 


SALES CONDUCTED BY 
Mr. O. Bernet and Mr. H. H. Parke 
American Art Association 7 Inc 
MANAGERS 


1927 


No. 363. POLYCHROMED EQUESTRIAN STATUE | 
OF SAN HIPOLITO 


Important Mediaeval 
and Early Renaissance 
Works of Art from Spain 


SCULPTURES, FURNITURE 
Pret) nS ,.TAPESTRIES 
AND RUGS + COLLECTION OF 
CONDE DE LAS ALMENAS 
MADRID + SPAIN 


(atalogue Written By 
Mildred Stapley Byne 
and -Arthur Byne 


Descriptions at La pestries &! Italian 
Objects Written by 
Ercole Canessa 


cy 


NEW YORK 
AMERICAN ART ASSOCIATION: INC 
1927 


’ | nae | —— « phe] 
Ca ne =F 
é F 


ie 


The AMERICAN ART 


I. 


ye 


Conditions of Sale 


CEA,» 


REJECTION OF Bips. Any bid which is not commensurate with the value 
of the article offered, or which is merely a nominal or fractional advance, 
may be rejected by the auctioneer if in his judgment such bid would be 
likely to affect the sale injuriously. 

Tue Buyer. The highest bidder shall be the buyer, and if any dispute 
arises between two or more bidders, the auctioneer shall either decide the 
same or put up for re-sale the lot so in dispute. 


. IDENTIFICATION AND Deposit By Buyer. The name of the buyer of each 


lot shall be given immediately on the sale thereof, and when so required, 


each buyer shall sign a card giving the lot number, amount for which sold, 


and his or her name and address. QL A deposit at the actual time of the sale 
shall be made of all or such part of the purchase prices as may be required. 
(I If the two foregoing conditions are not complied with, the lot or lots so 
purchased may at the option of the auctioneer be put up again and re-sold. 


. Risk AFTER Purcuase. ‘Title passes upon the fall of the auctioneer’s ham- 


mer, and thereafter the property is at the purchaser’s risk, and neither the 
consignor nor the Association is responsible for the loss of, or any damage 
to any article by theft, fire, breakage, however occasioned, or any other 
cause whatsoever. 

DELIvery oF Purcuasges. Delivery of any purchases will be made only 
upon payment of the total amount due for all purchases at the sale. 


. RecErpTeD Britis. Goods will only be delivered on presentation of a re- 


ceipted bill. A receipted bill presented by any person will be recognized and 
honored as an order by the buyer, directing the delivery to the bearer of the 
goods described thereon. If a receipted bill is lost before delivery of the prop- 
erty has been taken, the buyer should immediately notify the Association of 
such loss. 


._ STORAGE IN DEFAULT oF Prompr PayMENT AND CALLING FoR Goops. 


Articles not paid for in full and not called for by the purchaser or agent by 
noon of the day following that of the sale may be turned over by the Associa- 
tion to some carter to be carried to and stored in some warehouse until the 
time of the delivery therefrom to the purchaser, and the cost of such cartage 
and storage and any other charges will be charged against the purchaser and 
the risk of loss or damage occasioned by such removal or storage will be upon 
the purchaser. CL In any instance where the purchase bill has not been paid in 
full by noon of the day following that of the sale, the Association and the 
auctioneer reserve the right, any other stipulation in these conditions of sale 
notwithstanding, in respect to any or all lots included in the purchase bill, at 
its or his option, cither to cancel the sale thereof or to re-sell the same at 
public or private sale without further notice for the account of the buyer 
and to hold the buyer responsible for any deficiency and all losses and 
expenses sustained in so doing. ae 
SHrppinc. Shipping, boxing or wrapping of purchases is a business in whi 
the Association is in no wise engaged, but the Association will, however, 


ch 


10. 


II. 


afford to purchasers every facility for employing at current and reasonable 
rates carriers and packers; doing so, however, without any assumption of 
responsibility on its part for the acts and charges of the parties engaged for 
such service. 

Guaranty. The Association exercises great care to catalogue every lot 
correctly and endeavors therein and also at the actual time of the sale to 
point out any error, defect or imperfection, but guaranty is not made either 
by the owner or the Association of the correctness of the description, genuine- 
ness, authenticity or condition of any lot and no sale will be set aside on 
account of any incorrectness, error of cataloguing or imperfection not noted 
or pointed out. Every lot is sold “as is” and without recourse. QM Every 
lot is on public exhibition one or more days prior to its sale, and the Associa- 
tion will give consideration to the opinion. of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may 
thereafter sell the lot as catalogued or make mention of the opinion of such 
expert, who thereby will become responsible for such damage as might result 
were his opinion without foundation. 

Recorps. The records of the auctioneer and the Association are in all cases 
to be considered final and the highest bid shall in all cases be accepted by 
both buyer and seller as the value against which all claims for losses or 
damage shall lie. ? 

BuyiInc ON Orpver. Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone, if con- 
ditions permit, will be faithfully attended to without charge of commission. 
Any purchases so made will be subject to the foregoing conditions of sale, 
except that, in the event of a purchase of a lot of one or more books by or 
for a purchaser who has not through himself or his agent been present at the 
exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale, and the purchase money will be refunded, 
if the lot differs from its catalogue description. QL Orders for execution 
by the Association should be given with such clearness as to leave no room for 
misunderstanding. Not only should the lot number be given, but also the 
title, and bids should be stated to be so much for the lot, and when the lot 
consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit must be sent or reference submitted. 


Shipping directions should also be given. 


These conditions of sale cannot be altered except by the 
auctioneer or by an officer of the -Association 


OTTO BERNET = HIRAM H. PARKE * -Aurtigonerrs 


AMERICAN ART ASSOCIATION - INC 
Managers 


eter CD Gab TON 


+ 


RRANGEMENTS were made for the sale of the collection of 
A the Excelentisimo Senor de las Almenas in June of this year. 
Nothing so important in mediaeval and early Renaissance art will 
ever again come out of Spain, not only because an equal number of genuine 
objects of the same range and high quality could never again be assembled, 
but because the recent law of August fifteenth, 1926, against their exporta- 
tion is now rigorously enforced and would prevent their being offered en 
bloc to connoisseurs. This opportunity therefore, of reaping the benefit 
of an inheritance which has been patiently and discriminatingly augmented 
by several generations of one family, is unique. 

Among the old family possessions comprising chiefly furniture, tap- 
estries and rugs, there are a number of attractive bibelots, the sort of 
gifts which were exchanged between families centuries ago and which give 
the collection an appealing personal note. As for the more recently ac- 
quired numbers, they are represented mainly by the architectural acces- 
sories used in the remodeling many years ago of the Madrid residence of 
the Almenas family, and the comprehensive array of polychromed wood 
statuary which became accessible to collectors mostly after the disestablish- 
ment of the Monsteries in 1835. Briefly resumed then, the Spanish por- 
tion of the collection embraces the magnificent display of polychromed 
wood sculpture, carved wood architectural embellishments of the Plater- 
esque period, Hispano-Moresque rugs and carpets, a quantity of furniture 
covering the best epoch [that is to say, prior to the invasion of the French 
styles], specimens of historic velvets and damasks from the looms of 
Toledo, Talavera, Segovia and Granada, laces and embroideries from 
Castile and Andalusia, and finally pieces of early pottery and glass from 
Valencia and Catalonia. ‘The superb tapestries cannot be claimed for 
Spain; for owing to the close relations between Spain and Flanders, 
brought about by the intermarriage of their respective reigning families, 
the Spanish nobility began before the end of the fifteenth century to im- 
port their tapestries from Arras and Brussels. 

The sculpture in wood is of rare beauty and is distinctively Spanish as 
to type and treatment. Spain, it will be recalled, invented the lofty retable 
for her churches, rising to the very spring of the apsidal vaulting; its many 
niches were designed to hold Biblical figures. “These were of wood, and 
to supply them an army of artists was kept busy. The wood carvers of 
the late fifteenth and early sixteenth centuries, although their works went 


f oe 


unsigned, enjoyed in Spain the same prestige as was later accorded to the 
great and better known Spanish painters who flourished in the seventeenth 
century. Among the sculptors represented in this collection are Gil de “a 
Siloe, Gaspar de Becerra, Alonso de Berruguete, Juan de Juni, and Alonso — 
Cano: Nor must we pass without mention the anonymous artists of the 
thirteenth and fourteenth centuries who produced the very beautiful and 
spiritual Virgin of the Annunciation and the majestic Saint Peter. ; 

These sculptures, which may be considered the nucleus of the collection, 
having long been part of the decorative scheme of a private house, they 
were provided with appropriate bases covered with antique velvets and 
were displayed under gilded canopies, which objects in themselves must 
have cost no small effort to find. Arranged thus as a connoisseur would 
arrange his choice pieces for his own house, something was preserved of _ 
the original impressiveness of the time and place for which they were 
created. . 
Afhliated with the statuary and produced often by real masters, are the 
important architectural pieces, mostly in carved pine, which form part of 
the collection. Here too the carving can be claimed as intensely Spanish, 
full of nervous energy; life, whether animal, human or half human, was 
always in action. ‘This is equally true of the minute decoration of a colon- 
nette at small scale or the overwhelming vigor of some massive ceiling 
frieze at monumental scale. It is safe to say that if an equally large as- 
semblage of Spanish architectural details has ever before been offered for 
sale it has been representative of the surchargé Baroque, not the earlier 
and more subtle Plateresque period. In other words, dismantled ecclesias- 
tical structures furnished the Baroque, while stately palaces furnished the 
Plateresque here shown. 7 

In conclusion, we may confidently repeat that no Spanish collection as 

important as the Almenas, both in period and variety, has ever before been 
brought to this country. In Spain itself the only collections comparable 
to it are the remarkable pre-Romanesque and Gothic display in the Muse- 
ums of Vich and Barcelona, the private collection of Don Luis Plandiura 
in Barcelona, and the collection of Don Juan de Valencia [commonly 


called the Osma Collection] in Madrid. 


AMERICAN ART ASSOCIATION, INC. 


PRES T° SESSION 
Thursday January 13, 1927 at 2:15 p.m. 
Catalogue Numbers I to 156 Inclusive 


Peer ANEOUS 


.. THREE ROMAN TEAR PHIALS, OF IRIDESCENT GLASS 


Two of them intact, found at Italica, near Seville. 
Heights, 344, 4% and 51% inches 
ROMAN GLAss VASE From Italica 
The mouth about four inches in diameter, the sides tapering down 
to a small base. Absolutely intact and thickly incrusted with earth. 
Height, 61% inches 
Gass VASE Catalan, XVI Century 


The glass is greenish white, and the form is that of a small globular 
body with tall funnel neck [cracked] and four handles from the 
shoulder to about half way up the neck. Over the whole surface 
passes a fine spiral thread, while on the handles is an applied wavy 
ribbon which separates from them towards the top and rejoins the 
brim. Between the handles are applied flowers in relief. Pieces 
almost identical may be seen in the Museum of Fine Arts, Bar- 
celona. 

Height, 734 inches 
Grass VASE Catalan, XVI Century 


A globe form on a spreading base, with long straight neck opening 
at the top into a cup-shape. Two handles run from the bottom of 
the globe to the neck, and on them is laid a wavy ribbon of glass 
which separates and continues around the neck; at this point a fine 
spiral fillet begins and runs up to the brim. ‘The piece was orig- 
inally plain white but has acquired through age a faint iridescence. 
Intact. To quote from Royall Tyler’s Spain, her Life and Arts: 
“The Catalans have always been cunning craftsmen . . . The in- 
dustries in which they most excelled were the working of silver 
and iron, and glass-blowing. Of the glass, of course much has 
perished . . . and there is doubtless many a Catalan piece in many 


a museum which passes for Venetian.’ 
Height, 9% inches 


13 


$. 


REVERSIBLE GLAss DisH, FoR DESSERTS OR LOWERS 2 
Catalan, XVI Century — 


An ingenious combination of a large plateau from which pastry 


- might be served, mounted on a small inverted bowl for base; turn- _ 
ing it upside down it makes a centerpiece of a glass disc with a — 


gracefully shaped bowl for flowers in the center. The glass is 
greenish white, slightly iridescent, and shows the attractive imper- 


fections of tiny bubbles. The plateau has an upturned brim three- ' 
quarters of an inch high decorated by a fine blue line in relief, while 


a broad scroll band of the same is applied to the under surface of 
the plate. The blue scroll motive itself is again seen on the bowl. 
The piece is intact. a 


GLAZED TILE Valencian, Dated 1472 


Pavement tiles in the form of an elongated hexagon were made in 
quantity in Valencia throughout the fifteenth century. “he surface 


of the tile is white with an outer border of blue, inside of which is 7 
a band of gold lustre. The density of the clay and the condition 
of the glaze after four and a half centuries of usevattest to tiem 


excellence of the old tile-making industry in Valencia. 
Length, 6% inches 


LEATHER CASE FOR SCISSORS XVI Century 


A leather case embossed and tooled, intended to hold four pairs 
of scissors of different sizes. On the face are two well modeled 
classic profiles, and on the sides a vine design. It is provided with 
a silk cord to suspend it from the waist, and finished off with a tassel. 
Probably Italian. 

Height, 7 inches 


LEATHER-COVERED TABLE Box wITH ARCHED TOP 
XVI Century 


The entire box is covered with dark leather and on top of this are 
laid thin panels of leather in two different tones, light and dark. 
The panels are delicately tooled and gilded and where they meet 
the joint is almost invisible. The inside is lined with old red silk; 
the lock is missing but the little bronze handle with spindle grip 
is the original. 

Length, 9 inches 


Height, 214 inches; diameter, 101% inches 


10. 


EY. 


12. 


CARVED SPOOL-HOLDER XVIT Century 


This unique little object [the Spanish would call it a chisme] is 
hollowed out of a square block of cocowood and adorned with 
applied carvings of pearwood. The female head surmounting the 
box would appear by the headdress to be German or Flemish; like- 
wise the initials APL, in script, are German-looking, as if taken 
from an embroidered sampler. The relief head of a man is more 
Spanish in type and Spanish also was the seventeenth century prac- 
tice of inserting glass eyes. ‘The piece was probably a gift from 
a lover to his sweetheart and the heads were intended for portraits. 
It is a charming reminder of a time when it was considered worth 


while to expend art on even a practical trifle. 
Height, 7% inches 


TEN LINENFOLD PANELS OF WALNUT XV Century 
Portion of a frieze in the hall of the Almenas house. These panels 
present a peculiarly Spanish variation of the general European linen- 
fold device, in that the edges of the folds, upper and lower, ter- 


minate in animal motifs, or bichos. 
6 by 15 inches 


Hour Grass, IRON MouNTED | XVI Century 
A rare little piece charmingly mounted. Connecting the upper and 
lower stages of the mount are diminutive balusters, beautifully 
wrought at small scale. The termination at the top is ingeniously 
devised to fit into the socket of the stand when the glass is inverted. 
All the ironwork was at one time gilded and coloured; a few traces 


remain. 
Height, 10 inches 


RouND JoRTOISE-SHELL Box XVII Century 
A curious and beautiful bit of workmanship. Top and bottom of 
the box of shell inlaid with brass and silver, and the side is a strip 
of brass etched with a rinceau pattern and cut in little scallops top 
and bottom which bend and clip the shell discs. ‘The scallops are 
held down by a twisted brass wire. On the bottom there is an inlaid 
rose of brass from which radiate smaller ones in brass and silver, 
their surfaces etched. Outside of this is a vine of silver roses, 


brass leaves, and stems of tiny metal dots. The shell disc forming 
[ Continued | 


15 


No. 12. Concluded 


iB): 


14. 


IS. 


the cover has, besides the floral inlay in brass and silver, a shield of 
etched bars and eight pointed stars. Around it in inlaid letters 
is the following inscription: Doi Grazias y Alabo al Santisimo Sacra- 
mento del Altar. The inlaid metal flowers surrounding the coat of — 


arms have fallen out. ifs 
Height, 1% inches; length, 41% inches 


BRONZE ENAMELED FIGURE OF THE SAVIOR ATILT Century 
This rare figure in half-round was undoubtedly part of a crucifix 


from which it was wrenched, mutilating the hands and feet. Itisof _ 


the familiar form of the thirteenth century Limoges enamels, head — q 


crowned, face bearded, and eyes like two little beads of jetty enamel. | : 


The surface of the crown is stippled. he only enamel left is the 4 


blue in the pleats of the skirt. 


Height, 51% inches 


THREE MINuTe Boxwoop RELIEFS AVI Ceningy 
The scenes represented are the Annunciation, the Dormition of the 
Blessed Virgin, and the Visit of the Magi. In the Annunciation the 
Virgin kneels before the altar on which is an open missal, and turns 
to receive the angel’s message. An interesting detail is that the 
curtain above her altar is held to the wall by a carved arm and hand 
with two fingers raised in the manner of benediction. In the Dormi- 
tion, the Virgin on her couch is. surrounded by twelve figures, all 
with haloes, and one holding the Martyr’s palm. Above their heads 
is a three-arched portico resting on tiny fluted pilasters with capitals. 


The same arched motif originally crowned the third scene, the — 


Visitation of the Wise Men, but only one of the arches remains. 
The Virgin sits with the Child on her lap while one of the three 
Magi kneels before Him and presents his gift. Back of the Virgin 
are Joseph and an angel. 


214 inches square _ 


SMALL Boxwoop CASE XVI Century 


A charming bibelot imitating a leather book-binding. The two 
faces and shelf back are carved with a central panel a jour which ~ 
is surrounded by a border of ivory inlay. The carved dedication 
in raised letters is A DON FADRICI DE INSUA, the F, D, and s, turned 
backwards as often happened with illiterate carvers. The simulated 
leaf edges are gilded, the top sliding open. 


5 by 2% inches 


16 


16. 


oe Oy E 


18. 


19. 


LEATHER Box | XVI Century 


Like so many small table boxes of the period this takes the old 
trunk form with arched lid. It is covered with beautifully tooled 
leather and has an interesting lock and key. On the front and 
ends is a typical Plateresque motif of grotesques within a black 
oval, and on the arched lid a more important decoration in the 
shape of a medallion of a bishop, his right hand raised in bene- 
diction and the left grasping the crozier. The box is lined with 
green silk. 

Height, 71% inches; length, 9 inches 


EmBoss—ED LEATHER FACE OF CHRIST 
Italian [?], XIV Century 
The Santa Faz, or imprint of the Sacred Face as it appeared on 
Santa Veronica’s veil, looks straight ahead and the halo bears the 
Latin inscription, in Renaissance lettering: J have not turned my 
face from those who spat upon me [beginning FACIEM MEAM NON 
AVERTI . . .]. The elongated face is well modeled and natural- 
istically colored; the rest of the leather is dark, embossed in slight 
relief in a small Renaissance border. ‘This subject painted directly 
on the leather is not an infrequent accessory to a Spanish altar, but 
examples embossed and painted are rare. 
9% by 7% inches [without frame] 


SMALL EmBossED LEATHER CASE XV Century 
This cover was perhaps intended to enclose a small Book of Hours. 
Around a central panel of vine design runs an inscription in Gothic 
characters, and in the corner is the cross of the Order of Calatrava. 


514 by 3% inches 


SMALL LEATHER COFFER, [RON MOUNTED XV Century 
A well preserved Gothic table box with lock and clasp complete. 
These miniature chests were built up of wood. and covered with 
leather, first soaked to take the form, then tooled in patterns mostly 
geometric, but here a few Gothic scrolls adorn the spandrels of the 
design. Next the strap bands of iron were fastened in place, the 
central one forming the hasp. Handle, hasp, and lock-face with 
columnar fixing-staples are all interesting in detail. 


Length, 12 inches 


17 


720: 


21. 


22. 


22 


24. 


SMALL TasLe Box INLAID WITH IvoRY AND SILVER 

» . XVI Century 
An ebony exterior with silver mountings, beautifully inlaid with 
ivory in delicate tendril pattern surrounded by a border of flowers. 
Inside are five drawers whose decoration is of the accomplished 
craftsmanship that indicates the Oriental influence always operative 
in Spain. The minute inlay pattern is based on the star, and in 
addition to ivory and various coloured woods, fine pieces of metal 
have been introduced to give the surface a wonderful glow. The 


- little drawer-pulls are of silver. 


Height, 8 inches; length, 11 inches 


GOTHIC STONE CAPITAL XV Century 
Stone capital from Toledo, octagonal in form, with abacus and 
necking mould of Gothic profile. Two of the sides are adorned 
with shields, one with a simple urn and flowers, the other with the 
raiment of Christ for which the Roman soldiers threw dice. The 
intervening sides of the capital are carved with a thorny leaf orna- 


ment. 
Height, 12 inches; diameter, 11 inches 


Pair VALENCIAN URNS AV Century 
These unique Valencian bowls on a stem base have been fitted for 
electric lights. Gothic in form and in their decoration of delicate 
blue tendrils, the brim is accentuated by four turrets crowned with 
a perforated cresting. In the decoration figures a coat of arms 
with the bar sinister. [ Restored. | 

: Height, 15 inches 


Four CARVED WoopDEN CoRBELS ae AVI Century 
Console in form, carved in walnut, with a cupid in full figure on 
the face in the attitude of sustaining the upper portion of the 
scroll. “The mouldings above are modern. | 

Height, 13 inches 


BRAZIER AND SUPPORT XVII Century 


The brazero forms an essential part of Spanish household furnish- 
ing. There are two types of tarima or wooden support—the flat 
octagonal piece studded with nails, and the two-storied on spindles, 
of which the present is an example. The frame is of walnut, 
octagonal in shape, and extending very little beyond the copper 
pan; the handles of the brazier are of brass. 


Height, 12 inches; diameter, 22 inches 


18 


25. 


PAIR SMALL RELIQUARY Busts, 
GILDED AND PAINTED XVII Century 


Two female heads of classic type turned slightly towards each 
other. These are beautiful examples of the estofado process, the 
translucent paint being thinly applied over heavy gilding, and then 
scored in fine horizontal lines to reveal the gold. In addition 
there was a bold floral pattern in imitation of the richly coloured 
Valencian silks of the period. On the back, which was as elaborately 
treated as the front, the pattern and colouring of the supposed silk 
mantle is well preserved there. 


Height, 11 inches 


26. A HEALING STONE MOUNTED IN Brass 


def 


28. 


The mystery of the healing stones of the Middle Ages was 
probably solved by the discovery of radium. At any rate there was 
more than mere superstition in the belief that certain physical ail- 
ments could be cured by the contact of such stones, which were 
much prized and were lent or even rented out by their fortunate 
possessors. Further, a healing stone was considered worthy of a 
beautiful and costly setting. 

The present piece is encased in a curious winged animal form 
of brass mounted on a turned pedestal. On top of it is a tiny bird. 
The body surface, all etched, is formed of four parts which leave 
the stone visible between them. ‘These parts are hinged to lift up 
and permit the removal of the stone to be laid on the afflicted part. 

Length, 3 inches 


GILDED AND DECORATED FRAME XVI Century 
A chaste mirror frame earlier in period than the better known 
Spanish portrait frame of elaborately carved corners on a red or 
black background. In this instance the frame is beautifully moulded 
with delicate, flat, acanthus leaves in the corners and center. Be- 
tween the moulds is a painted band of floral ornament which in 
drawing and colour is copied after the early illuminations. 


Height, 28 inches; width, 24 inches 


CARVED PEDESTAL FOR A STATUE XVI Century 
A five-sided pedestal or plinth of walnut beautifully carved, gilded, 
and painted. On each panel is a recumbent female figure, among 
them allegorical representations of Justice and Plenty. The tasteful 


colouring is enhanced by a lustrous patine. 
Diameter, 12 inches 


19 


29. SHEET OF ILLUMINATED MANUSCRIPT XIV Century 


A double columned page of manuscript on vellum beginning with 

IN VIGILIA, richly coloured and brilliant with gold. The page has an 
exquisitely drawn border of foliation in which appear the usual fan-  ~ 
tastic animals and birds along with three important figures of kneel- 
ing angels with gold haloes. The uncial contains a beautiful minia- 
ture of the Assumption of the Virgin. By the shape of the heads 
and the crispness of the draperies the work appears to be of the 
fourteenth century school of Burgos; in fact it might even be from 
the famous missal of San Pedro de Cardena [the monastery selected 
by the Cid for his burial place] which missal is now in the pro- 
vincial museum of Burgos. 


11 by 834 inches q 
[See illustration ] 4 


20 


a 


30. ILLUMINATED PARCHMENT SHEET 


FROM A CHoIR Book XV Century 


Interest centers in the initial letter some eight by ten inches framed 
with a leaf border in gold. A curious scene is represented: Six 
monks seated in choir and raising an admonishing finger at a small 
urchin with a basket of eggs who is led into their presence by an- 
other fraile who has a cat-o’-nine tails. ‘The checkered floor is of 
blue and white tiles which run clear to the top with no perspective. 
Around the entire page is a beautiful vine border, its scrolls em- 
bracing monkeys, parrots, cherubs, and fantastic animals. Across 
the top of the page this vine border gives place to one of Mozarab 


interlacings. 
24 by 17 inches 
[See illustration ] 


= 


Rie 


ay. 


sist 


34. 


AN ILLUMINATED PARCHMENT SHEET 7 4 

FROM A CHorR BOooK eae a Century — 
The initial, some nine inches square, contains a Crucifixion with the 4 
Virgin and St. John, robed in blue and red, at the foot of the — 
Cross. Beyond are the reddish towers of the city and in the distance, — 
bare greyish mountains. The scene is framed by the same curious — 
columns and arch as seen in Number 32. One of the columns is — 


a particularly curious conceit, with a base of two fantastic humans ~ 


with interlocked arms, each weeping and holding a handkerchief to 3 
the eyes, and their lower limbs replaced by acanthus leaves. The — 


left margin of the page is decorated with a winged head from whose _ 


mouth rise four slender branches filled with minute fruits, flowers 


and birds. | a 
| 38 by 26 inches 


ILLUMINATED PARCHMENT SHEET 
FROM A CHorr Book | XVI Century 


The page begins with a large painting of the Resurrection enclosed _ 


in a letter composed of fantastic columns and arch of plant forms. — 
Masks in gold, red and green, decorate these curious architectural — 
forms. The composition shows the risen Christ within an aureole 
rising into the blue, while the horizon glows with the light of dawn. _ 


To the left of the scene are the grey towers of the. city, while the : 
rest is sea and a rocky shore. On the wide left margin of the page 


is a gold oval supported by two cupids and enclosing six angels, — 
four of them with long trumpets. The rest of this border is filled 
with cupids, vase and vine, an eagle, a monkey playing the violin, 
and a pig with bagpipes. 


38. by 26 inches | 


STONE CORBEL | a XV Century 
An angel holding a shield carved with a winged grifin. Onthe head — 
and wings there are traces of gold and on the robe traces of blue. © 
The piece is mounted on a low base of cut green velvet. } 

‘Height, 14% inches — 


STONE HEAD OF A SAINT — XVI Century 


This fragment of an early Gothic statue is reminiscent of the — 


Byzantine tradition in the conventionalized treatment of beard and 
hair, once gilded. The eyes are almond-shaped, the nose and mouth 
small and fine. The head is mounted on a base of sixteenth cen- 
tury cut velvet of amber tone. 

Height, 9 inches; base, 3 inches 


22 


GREEK MARBLE HEAD oF A GiRL, 
FROM AMPURIAS Greek Period 


In the third century B.C. Emporion and Rhodes were the two most 
important Greek colonies on the Mediterranean coast south of Mar- 
seilles. [hey now fall geographically into the Spanish Catalan 
region and are known as Ampurias and Rosas. Important excava- 
tions have been made there by the Institut de Estudis Catalans 
resulting in a quantity of statuary and coins. ‘The best known 
Ampurian treasure is a beautiful head of a girl in the Guell col- 
lection, Barcelona. The Almenas piece shows a youthful head 
thrown back, lips parted, and wavy hair gathered into a loose 
knot at the nape of the neck. 


Height, 8% inches 


[See illustration ] 


No 
Ww 


36. 


37: 


AWE 


RoMAN MarsiLe Bust ; 

Representing an Emperor, on whose corselet is a Medusa head. 

It stands on a plinth of brown marble flecked with yellow. © 
Height, 1714 inches with base 


MoZARAB CAPITAL OF STONE : Nee eid 
A small stone capital whose face is in the form of an inverted trian- 
gle, truncated at the bottom to receive the column shaft. It was a 
form commonly employed in twin-light Visigothic and Mozarab 


windows, with their delicate dividing shafts of marble. The length 4 


of the capital was so proportioned as to support the thickness of 
the wall. There is an incised quatrefoil decoration in the capital 
ends, and a geometric device of semicircles and crown on the face. 

Height, 5 inches; length, 16 inches 


RomaAN Masque, MARBLE FAUN Roman Period 
This bit of Roman sculpture was found on the Almenas estate near 
Jaen in northern Andalusia. Lying for centuries in the red soil 
of the district the marble has taken on a rich colour. The head 
with pointed ears and full beard is crowned with a wreath of leaves 
and flowers. The piece is supported on a base of cut green velvet. 

Height, 8% inches 


COMPLETE STONE COLUMN FROM CATALONIA XIV Century 
This very slender shaft with its capital and base was undoubtedly 
the central number of an ajimez or two-light window, the typical 
fenestration of Catalan Gothic architecture. [The shaft is about 
two and a half inches in diameter and the base is composed of a 
double plinth, the lower with rosettes at the side, the upper with 
balls at the corners forming part of the column base. On the capital 
we see highly conventionalized leaf-work flaring out horizontally 
not unlike certain late Mussulman capitals in the Alhambra. 
Height, 4 feet 8 inches 


24 


CDACES 


Antique Spanish laces and embroideries are so little known to collectors 
that it may not come amiss to state that the very important textile museum 
of the city of Lyons recently acquired at a large price a private Spanish 
collection of laces, for which the director prepared a catalog and from whose 
introduction thereto we quote the following: 

“The honor of having invented pillow or bobbin lace has long been 
disputed between Italy and Flanders; we may now assert, thanks to the evi- 
dence of our new collection, that Spain possessed at the time under discussion 
lace-makers equally skilful in managing the bobbins, and further that they 
gave to their pillow lace a special oranmentation and certain originalities 
of technique which make it seem probable that the Spaniards may even have 
preceded the Italians and Flemings in this particular branch of lace making.” 

This entire collection of laces belonging to the family of the Conde de las 
Almenas formed the nucleus of the exhibition of laces held in Madrid by 
the Sociedad de los Amigos de Arte in 1915. 


40. BuRSE OF GREEN AND GoLp Lace XVII Century 


41. 


Aa: 


43- 


The coloured lace of the burse is interspersed with bird and leaf 
motifs in light coloured silks all shown to advantage by the salmon- 
coloured silk lining. This ritualistic accessory is known in Spanish 
as the bolsa de los purificadores—the little linen doylies for cover- 


ing the chalice. 
II inches square 


Strip OF WHITE SILK AND SILVER 
Lace INSERTION XVII Century 


Pillow made. 
Length, 28 inches 


SMALL SQUARE OF Gotp Tureap XVII Century 
Small square, allover web of gold finely threaded by braids of three 


strands which meet and separate into loops. 
8 inches square 


SQUARE FOR A BURSE IN SILK 
AND SILVER THREAD XVII Century 


A pillow lace of red, blue, and green silks, in patterns of birds, 
flowers, and letters all connected by a silver mesh. In the center 


is the sacred monogram I HS. 
6 inches square 


25 


44. Lace NIGHT-capP AVIT Century 


This interesting piece of lace consists of a six-sided silk web of 
cherry colour, darned with gold thread and coloured silks in nat- 
uralistic designs, such as are seen on the popular embroideries of — 
the seventeenth century. Among the figures are a woman mounted ~ 
on a donkey, a shepherd leaning on his staff, a siren, etc. Ihe cap 
is tied with old cherry-coloured ribbon, into which a gold flower 
is woven. 
[See illustration ] 


26 


45. Man’s SILK Cap XVIII Century 


In the form of a pouch to accommodate the queue of the eighteenth 
century. It is knitted of old-rose silk and silver thread. Similar 
headgear can be seen on the men in Goya’s cartoons for Spanish 
tapestries. 

Length, 10 inches without tassel 


[See illustration | 


27 


46. 


47: 


48. 


49. 


50. 


(aie 


Strip OF FINE LINEN PiLLow LACE XVIII Century 4 


With three very broad scallops; imitation of Russian. 
Length, 28 inches; width, 8 inches 


STRIP OF SILK AND SILVER LACE XVII Century 


A strip of yellow silk pillow lace with broad scallops, the pattern ‘3 
accentuated by being run with fine gold thread. It is stitched to _ 
a heading or gimp of ecru silk and silver lace through which passes 


a narrow ribbon of silver. 
Length, 36 inches; width, 4 inches 


CHERRY SILK EMBROIDERY IN SCRIM XVII Century 
This is merely one end of a beautiful towel, or perhaps a scarf, of 


loose woven linen cloth of unbleached tone much used for silk 4 


embroidery and called catamaza. ‘The pattern consists mainly of 
three large floral motifs pointing towards the center, and the Per- 
sian pine tree enclosed in each. The silk is loosely spun [torsal] 
and wonderfully lustrous. A narrow needle lace borders the piece. 


32 inches square “@ 


ALTAR SQUARE WITH GoLD Lace BORDER XVI Century 
A linen center with a lace border of the punto de Espana or Valla- 
dolid type. The linen lace is run by the needle with gold thread and 
with blue, green, and grey silk; for further enrichment the entire 
design of the lace is edged with gold loops. 


16 inches square 


VELVET PANEL BORDERED WITH GOLD LACE XVIT Century 
Within a lace circle is embroidered the imperial double-headed eagle 
of Charles V, black on white silk, outlined in gold. The lace is of 
gold, made to form, and about four inches wide. The whole medal- 
lion is mounted on a panel of purple velvet lined with yellow damask 
and edged with yellow and purple fringe. 


Length, 40 inches; width, 21 inches 


SQUARE BORDER OF COLOURED SILKS nae, 
AND SILVER XVIT Century 
Each silk motif appears to have been made separately of one colour 
only, by the needle; the various units of the design were then united 
by a web of fine silver thread. Birds and flowers are the same as 
in No. 43. An inscription, two words to a side, runs around the 
[ Continued | 


28 


No. 51. Concluded 


pe 


53: 


54. 


inner edge. The letters are of rose silk an inch and a half high and 
are probably a quotation from Santa Teresa: MI CORAZON . 
PARA DIOS . . . IDENTRODEL . . . SOLO DIOS. 


25 inches square; width, 6% inches 


GOLD AND SILVER LAcE BorDER 
FOR A SQUARE XVI Century 
This deep band has a narrow lace stitched to its outer edge. The 


linen lace is pillow made and is run with fine gold and silver thread 


in the Valladolid technique. Another technical detail is that the 
main scrolls of the pattern are thickly overlaid with gold loops, 
which treatment may have been inspired by the bouclé weaving of 
the period. This handsome border has been mounted on a square 
of sixteenth century velvet embroidered with a beautiful escutcheon 
of lions and castles surmounted by a cardinal’s hat. The piece is 
lined with damask and bordered with gold fringe. 


30 inches square 


GoLD AND Rose SILK LACE SQUARE XVI Century 


A border about three inches wide, made to surround a silk or linen 
square, and designed with three wide scallops to a side. The lace 
is pillow made, old-rose silk and fine gold thread entering in about 
equal proportion. In addition, the silk part is made very effective 
by being run with a flat silver tape. 

24 inches square 


DEEP EMBROIDERED BAND ON A 

GREEN SILK CENTER XVII Century 
An open square border of fine linen is mounted on a coarser linen 
and then embroidered with coloured silks and gold thread. Certain 
little motifs are padded, and as embroidery in relief was not much 
practised before the Baroque epoch, this piece may date from the 
late seventeenth century. At the outer edge of the border an all 
gold narrow pillow lace is stitched and on the inner edge, a gold 
insertion. The green silk on which the lace is mounted is curious 
in that the surface is slashed diagonally in short cuts close together. 


21 inches square 


29 


55. Lace Borper To a Red VELVET SQUARE AVI Century 
This border, four and one-half inches wide, is the same as that on 
No. 63, but the loops are of silver thread instead of gold. In 


the center of the red velvet is a fine appliqué escutcheon. The piece 
is edged with gold and red silk galloon. 


; 28 inches square 
[See illustration ] 


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$6. Sirk FILET TaBLe Cover XVI Century 


Heavy red silk was used to knot the filet, or malla, and on this 
groundwork was darned, quite densely, an interesting pattern in 
various coloured silks. In addition the pattern is loosely threaded 
with gold and silver, making a brilliant piece of lacework. On the 
outer edge is a narrow needlemade lace of silk and gold. 


32 inches square 
[See illustration | 


31 


57: 


58. 


59. 


60. 


LINEN APPLIQUE ON A RED a 

SILK TABLE COVER - AVI Century 
A very interesting and painstaking decoration made by cutting the 
lace pattern out of fine spun linen and applying it to a silk ground. 
The cut edges are outlined with a gold thread frequently looped, ~ 
and the interstices of the design are filled by a gold mesh. The 
gold outline is stitched down sometimes with blue, sometimes with — 
green silk. A gold fringe edges the table cover. | q 
| 30 inches square ~ 
GREEN SILK TaBLe Mar | sie ' 

Goitp Lace BorpDER : ue XVII Century — 
A pillow lace insertion two and one-half inches wide has been — 
used to trim the mat. It is made of coarse silk thread wrapped in — 
fine spun silver and a thinner thread wrapped in gold, the two — 
combined in a very open pattern. The piece is finished with green — 


and gold espiguilla. | | 32 by 24 inches 4 


EMBROIDERED END TO A LINEN TOWEL ?t (XELD Centura 


This embroidery has survived the body of the towel which it once ~ 
adorned. It is technically of the same type as seen on the lamp — 
shades in the collection, and which is referred to for lack of a — 
better name as ‘Sierra Morena work.’ The main outlines of the — 
design are back-stitched with cerulean-blue silk and. the background ~ 
is then filled by vertical rows of the same in half-cross stitch, with — 
the peculiarity that the rows are separated from each other by a — 
vertical line of back-stitch. Thus the ground is as heavy as a woven — 
silk fabric. The design comprises a central urn and plant and ~ 
on each side of it a Diana with cross-bow seated in her chariot — 
drawn by a lion. Accompanying her is a cavalier with falcon and ~ 
a dog in leash. The costumes are of the period of Philip III. 
Length of towel, 32 inches . 
Width of embroidery, 12 inches — 
GREEN SILK AND SILVER Lace BORDER | 
ON A RED VELVET SQUARE XVI Century — 


This border was probably made for a lady’s kerchief, such articles — 
having been very large in the sixteenth and seventeenth centuries, as — 
can be seen in Velasquez’s paintings of the Infantas, where the 
handkerchief held in the hand falls almost to the ground. The — 
lace in question is of the punto de Espana type and the design is — 


overlaid with row upon row of gold loops. 
26 inches square 


Width of band 7 inches 


32 


61. 


SILVER Lace BorDER To A 

Rep VELVET TABLE COVER XVI Century 
The cover is of sixteenth century velvet with a cardinal’s escutcheon 
richly embroidered with silk and gold in the center. The lace 
border, made in the form of an open square, belongs to what 1s 
called in Spain the ‘school of Valladolid,’ meaning that after 
the completed piece was removed from the pillow it was threaded 
or darned with coloured silks. ‘The present piece, made of silver 
thread and with a scalloped edge, is further embellished with grey 


silk. The table cover is lined with yellow silk. 
24 inches square 


[See illustration | 


33 


62. 


63: 


64. 


SquaRE LAcE BORDER IN LINEN 

SILK AND GOLD XVI Century 
This piece was described in the Madrid Lace Exposition of 1915 
as an edging for a lady’s handkerchief, of punto de Espana in the 


Valladolid style. The foundation is a linen thread of scroll and _ 


leaf design beautifully worked out at the corners and scalloped at 
the edge. Into the linen lace is threaded fine spun gold and silver, 
also a quantity of pale green silk and a little brown. 


26 inches square; width, 5 inches 


GOLD AND COLOURED SILK LACE BORDER 

TO A VELVET SQUARE XVI Century 
This border, three inches wide, made for an altar cover is of the 
punto de Espana type; the lace after being made was threaded 
with blue and old-rose silk, also with gold, and outlined in gold 
loops. It was considered worthy of a full-page colour illustration 
in the catalog of the lace exposition held in Madrid in 1915. 


25 inches square 


LINEN TowEeL EMBROIDERED 
IN GREEN SILK AND GOLD XVI Century 


This fine piece, complete and in an extraordinary state of preserva- 
tion, is pronouncedly Italian in feeling and was probably copied or © 
adapted from the Exemplario di labori che insegna alle donne il 
modo e l’ordine di laborare, by Giovanandrea Vavassore. The 
linen of the towel is fine and closely woven, and the embroidery is 
drawn tight so as to open but not to wrinkle the weave, thanks 
to its being worked on a frame. The frame also explains its being 
finished equally well on both sides. Italian Renaissance designs of 
this sort were generally interpreted in Spain by the opposite system 
of filling in the background and leaving the griffins blank; further, 
the Spanish embroiderer seldom took motifs from the end to 
repeat them up the side of the towel. The pillow-lace edging of 
green and gold is of the sort that was made in and around Tala- 
vera de la Reina. 

54 by 37 inches 


34 


65. 


66. 


67. 


68. 


69. 


70. 


TEs ned Bel bg OE aS 


Paik LINEN Lamp SHADES MapeE or SEVENTEENTH CENTURY 
TowreL ENps 
The background worked in blue silk leaving blank the small pattern 
of men, beasts and leaves. 
Diameter, 8 inches 


Pair GREEN DAMASK CUSHIONS 


One of the cushions is covered on both sides with green damask 
in the large medallion pattern of the late fifteenth or early six- 
teenth century weavings, and is edged with narrow gold galloon. 
The other has a small patterned damask on the face and green 
and gold thread tissu on the reverse. It is edged with a beautiful 
web-like gold lace. 


20 by 23 inches; 23 inches square 


EMBROIDERED COLLAR OF A DALMATIC XVII Century 
Richly worked on both sides and split to make a little table mat. 
The blue silk galloon is not applied but was woven in and shaped 
with the piece. Outside of it is a red espiguilla, or narrow-fringed 
gimp. 


SMALL CUSHION OF CHECKERED VELVET 

The face of the cushion is made of blue and old-gold checkered 
velvet, probably of the fifteenth or early sixteenth century, and 
the back of yellow silk. It is finished with gold galloon and narrow 
blue fringe. 


27 by 15 inches 


YELLOW SILK COVER 
With narrow red velvet stripes, probably of the fifteenth century. 
The galloon and deep gold fringe are woven together. 

25 by 42 inches 


Two SmMaLt Pieces or VELVET AND A STRIP OF GALLOON 
The two panels are of a buff stripe alternating with one of red vel- 
vet, this latter including rosettes of bouclé weave. The galloon 
or ribbon is also of looped technique, red silk on a loosely woven 
buff ground, and finished with handsome tassels. 

24 by 6% inches 

2% yards by 2% inches 


., LHREE SATIN CUSHIONS 


a, 
a) 


4 
a, 


AMBER-COLOURED CUT-VELVET STRIP XVI Century 
With pattern in velvet weave on a satin ground of the same tone. — 
The pattern comprises the cross of the Order of Santiago. 
24 by 10 inches — 
EMBROIDERED VELVET PANEL BAL Century 
Square of red velvet heavily embroidered in gold. The center is — 
designed with a cartouche embracing the cross of the Order of — 
Calatrava and surrounding it are urns, dragons, and foliation, all | 
worked in high relief. A heavy gold galloon borders the panel. , 
Height, 18 inches; width, 21 inches a 
EMBROIDERED VELVET PURSE | 
An almoner’s purse bearing the coat of arms of Cardinal Cisneros — 
[died 1515], one of the most noted of Spanish prelates and regent — 
after the death of Ferdinand the Catholic. Purses of the same sort — 
are seen hanging from the belts of ecclesiastics in mediaeval paint- 
ings. This one is embroidered in gold and coloured silk on red — 
velvet; its gold cord simulates the metal work of a fine gold chain 


and is finished with a handsome tassel. ee 
8 by 7 inches 3 


SMALL VELVET EscUTCHEON OF THE BorjA FAamILy 

The Borja family, Dukes of Gandia, were prominent in papal his- 
tory chiefly through Alexander VI [Rodrigo Borgia], and in Span- — 
ish, chiefly through Francisco who renounced his high worldly — 
station to enter the Company of Jesus and succeeded Ignatius — 
Loyola as its head. The Borjas and their various Spanish ramifica- 
tions show a toro, or bull, in their armorial bearings. 


Quatrefoil shape; of cherry red satin woven with a small gold — 
flower, dating probably from the sixteenth century. 
20 inches square 


BLUE AND GOLD STRIP XVI Century — 
Gold thread and blue silk interwoven to form a satin ground 
sprinkled with small gold motifs. The runner is edged with an old- 
gold galloon. 

46 by 10 inches 


BO 


77: 


78. 


79: 


So. 


ae 


82. 


SMALL EMBROIDERED CUSHION XVII Century 


Typical convent work in coloured silk embroidery on white silk, 
the pattern outlined in gold thread. The chief motif of the design 
is the monogram of the Virgin surmounted by her crown. Front 
and back are joined by an insertion [randa] of gold thread made 
by the needle, and the tassels at the corners are of the same silks 
used in the embroidery. 

15 by 10 inches 


GREEN VELVET PANEL WITH 
_ ARMORIAL BEARINGS XVII Century 
Green velvet edged with narrow fringed galloon or espiguilla, and 
divided by a red baton or bar sinister. Above and below are 
shields whose quarterings show the lion, castle, fleur-de-lys and 
the mulberry tree [peculiar to Madrid and figuring in the city’s 
escutcheon |. 

22 by 24 inches 


STRIP OF GOLD AND GREEN VELVET XV Century 
With a floral and scroll pattern outlined in velvet weave on gold 
tissu and the outline filled with gold bouclé, or looped weave. 
The piece is edged with gold and green espiguilla. 

26 by 13 inches 


Strip OF Rep VELVET IN HicH RELIEF XV Century 
Velvet of this type is called de dos altos [of two heights]. Woven 
on a warp of heavy yellow silk, it has the thickness and durability 
of a carpet. The pattern includes large medallions and a jeweled 
crown. The piece is edged with a narrow fringe of red and gold. 

29 by 11 inches 


TABLE COVER OF GREEN CuT VELVET XVI Century 
Wavy stripes of green velvet on a ground of yellow silk interwoven 
with gold thread. The piece is edged with rare green espiguilla, 


lined with green damask. 
40 by 29 inches 


VELVET TABLE COVER XVI Century 
Over a yard of pigeon-blood heavy velvet bound with narrow gal- 


loon and edged with fringe; silk lining. 
40 by 24 inches 


37 


One 


84. 


BiG 


86. 


37 


88. 


89. 


GREEN SILK TABLE RUNNER XVIII Century 
Delicate piece of weaving consisting of the French wavy ribbon — 
design on a green ground. The ribbon simulates a band of lace 
and in each of its loops is a brilliant bouquet of red and yellow roses. — 
The piece is lined with green silk of the period and edged with © 
pillow lace of silver thread. 4 
24 by 53 inchesa™ 
STRIP OF RED Cur VELVET AV Century= 
This piece of velours ciselé shows the large medallions and Oriental — 
interlacings of the Hispano-Moresque weavings. he strip is 4 
edged with red and green galloon and fringe woven in one. ; 

35 by 13 inches 4 


BLuE VELVET CUSHION AVI Century | 
The velvet is of rare faded cerulean-blue, and across the center q 
of the cushion is a band of gold velvet with blue floral pattern. It — 


is edged with narrow gold galloon. / q 
27 by 20 inches ~ 


STRIP OF RED VELVET AND GOLD | 
From an important Castilian tomb dated 1454, similar to bits of 
Valencian weave of the thirteenth century in the Episcopal Mu- 


seum of Vich. q 
29 by 8 inches > 


Rep VELVET TABLE RUNNER 

A single long strip of sixteenth century velvet trimmed with a two 

and a half inch band of appliqué heavily embroidered in coloured 

silks. Around the edge are two layers of deep fringe, the upper 

gold, the lower red silk. | 
Length, 2 yards 8 inches; width, 32 inches 


GREEN CuT VELveT TasBLteE Mat 


Around a center of small patterned damask are three strips of 
velours ciselé, of the Gothic period. The piece is edged with gold 
espiguilla and fringe. 

35 by 27 inches 


CuT VELVET CUSHION aie Century — 


Beautiful piece of plum-coloured velours ciselé, the large medallion 
pattern indicated in a fine cut line. The front and back are laced 
together by an old-gold cord with tassels. 

27 by 24 inches 


38 


go. 


OT. 


92. 


JRE 


94. 


95. 


GREEN VELVET AND SILVER STRIP XV Century 
A curious and beautiful checkered weave, probably Moorish, of 
small silver squares alternating with green satin squares in which is 
a raised velvet flower. ‘The piece is edged with gold espiquilla 
which ends in a knotted fringe, under which is a green silk fringe. 
Something of the same sort is mentioned by Lopez de Ayala [1360 | 
who tells that a minister of Peter the Cruel had one hundred and 
twenty-five coffers of cloth-of-gold and silks in his palace in Toledo. 

Length, 4 feet 


PAIR GREEN VELVET CUSHION COVERS 

Lustrous moss-green velvet of the sixteenth century on one side, 
small patterned damask of the same shade on the other, and fin- 
ished at the corners by a cluster of green silk loops, like cushions 


seen in the Velasquez paintings. 
36 by 24 inches 


Park RED VELVET CUSHIONS 

One cushion has a bold red velvet pattern on a gold-woven back- 
ground, Spanish probably, and dating from the late fifteenth cen- 
tury. The reverse is of yellow velvet, and the border of red 
fringe. On the second, the reverse is of green, white, and rose 


Talavera brocade edged with narrow light espiguilla. 


21 by 16 inches 


TaBLE CoOvER OF GREEN CuT VELVET XVI Century 

In floral pattern of high relief on a ground of amber silk. Bound 

with an interesting narrow loop-edged galloon of gold and silver. 
41 by 33 inches 


Rep CuT VELVET CUSHION 
In small pattern, with the reverse of plain velvet. Red and gold 
galloon and four interesting tassels complete the cushion. 

20 by 13 inches 


EMBROIDERED SILK TABLE COVER XVII Century 
Two pairs of embroidered panels on red silk, apparently from a 
dalmatic, have been mounted on the old handspun linen which in- 
variably formed the interlining of such vestments, and the piece 
edged with espiguilla of the period. The work is executed in gold 
and silver thread, the motif of each panel being a central vase, gar- 


lands, tendrils and leaves. 
45 by 20 inches 


39 


96. 


97: 


98. 


DEF 


BLUE VELVET LAMBREQUIN 


On a strip of rare blue sixteenth century velvet has been mounted 
and embroidered a coat of arms, and the whole bordered in heavy — 
gold embroidery. At the bottom is a double fringe, the upper being — 
of gold and the lower of blue silk. The rarity of old blue velvet — 
need hardly be emphasized. 

Length, 63 inches; depth, 12 inches [ without fringe | 


WINDOW CURTAIN OF LACE AND EMBROIDERY 
Bands of old filet alternating with Sierra Morena embroidery have 


been joined horizontally to make this curtain. The filet is knotted — 


of extremely fine linen thread and probably dates from the seven- 3 
enteenth century. Of the embroidery bands, two are worked in red ~ 
silk and the central, which is widest, in blue. In the pattern are 


unicorns, a bird, and a griffin. The curtain is finished with silk 4 


fringe and gold galloon. 
45 by 26 inches 


Woot ARAGONESE HANGING XVIT Century — 


Wall hanging or large spread from the Alto Aragon or Pyrenean 
district, woven entirely of wool, the background of. lemon-yellow, — 


the patterning a repeat design of dark green, and so woven that 


the colour combination on the back is just the reverse of that on 
the face [see Popular Weavings and Embroideries in Spain, by 
Mildred Stapley, Plate 30]. This type of weaving has not been 
done for over a century, and such spreads are consequently much 
rarer than the Alpujarras. 

Length, 8 feet 4 inches; width, 7 feet 4 inches 


WooL ARAGONESE HANGING 


ALCANIZ COLOURING XVII Century 


Heavy linen and wool spread from the district of Zaragoza, in 
Aragon; interesting for its beautiful combination of light blue and 
dark maroon wool on a grey field. This is not unlike the scheme 
of colouring seen in the famous carpets of Alcaniz not far from 
Zaragoza. The repeat pattern is lozenge in form with a decorative 
centerpiece, all reminiscent of Moorish work. The process of weav- 
ing is the same as that of No. 98. 

8 by 9 feet 


40 


100. EMBROIDERED Rep VELVET CHASUBLE XVII Century 


IOl. 


Spanish chasuble of red velvet, edged with yellow and red silk 
espiguilla, and with a pillar of elaborate gold embroidery in the 
center. The front pillar or panel is featured with three circular 
cartouches, the upper with the Cross, the central with a coloured 
silk embroidery of the Virgin, and the lower with the insignia of 
the Order of Santiago. The back has but two cartouches, one of 
the Virgin in coloured silk, the other containing the same insignia 
as on the front. Between the cartouches the space is filled with 
rich gold embroidery of Renaissance design. The pillars are edged 


with a heavy gold galloon in high relief. 


Length of chasuble folded, 55 inches 


mee CARVINGS 


SMALL Boxwoop Triptycu XVI Century 


A tour de force in minute carving, the center showing St. Jerome 
in the desert adoring the crucifix, while the folding leaves are 
divided into two panels each, to accommodate the four Evangelists. 
These last are accompanied by their symbols and are named in 
fragmentary black letters on a scroll. Saint Jerome, under a tri- 
lobed arch, is the traditional long bearded emaciated nude, an ana- 
tomical study at an infinitesimal scale and carved completely in 
the round. The ground of the panel is blue and the mouldings are 
gilded. Closed, we have a plain mottled red surface; the triptych 
retains its original little clasp and shows signs of having been car- 
ried for generations, every edge worn round and smooth. 

Small diptychs and triptychs in boxwood, believed in Spain 
to have been carved in the country in the early sixteenth century, 
were treasured amongst the small portable religious objects of 
many of the great ladies of the land; one said to have belonged to 
Queen Cristina now figures among the boxwood carvings in the 
Morgan Collection in the Metropolitan Museum. 


Height, 234 inches 


41 


102 POLYCHROMED Oak STATUE OF AN INQUISITOR 

Attributed ‘to Pedro Millan, Late XV Centurya 
This dignitary stands consulting the book of the condemned and — 
holding, apparently, an instrument of the Inquisition. The black — 
headdress of the Holy Office was probably enlivened by gold but 
the face, if ever coloured, is now scraped to the wood; the rest of — 
the polychrome and gilding is intact. The mantle of red is pat- 4 
terned with gold, the under tunic is entirely gold; likewise the 
maniple, that important article of the priest’s vestments which en- — 

dowed him with special sanctity. , | 
There is a great deal of character in this small head; the face, 
modeled by a few small planes, 1 is expressive of a man who could _ 
have condemned to torture in the full, honest conviction of per- 
forming a Christian service. That he should be represented with — 
an instrument of torture is not surprising since it was the custom to 
engrave an Inquisitor’s visiting card with a border of these un- 
pleasant devices. 


Height, 9 inches without base 


Note: Pedro Millan worked in Sevilla in the late KV century. He is 
known chiefly by the magnificent series of terra-cotta figures in the Archivolt 
of the great western portal of the Cathedral. He is also the author of the 
Virgin in the Chapel of the Virgen del Pilar. Like his contemporaries he also 
worked in wood on both a large and a small scale. 


103. Iwo STATUETTES OF PROPHETS 
IN Naturat WALNUT AVI Century 

The two figures hold long scrolls. One wears a high-crowned hat 

with upturned brim and a long cloak caught up in the left hand; 

the other, a close cap and a cape with hood. The faces and hands 

are sensitively carved. The statues are flat at the back and are 


mounted on their original little corbels. 
Height, 10 inches without base 


104. PAIR SMALL WoopEN LIONS 
GILDED AND PAINTED XV Century 


These crouching animals once served as supports for a small coffer 
as is indicated by the abrupt cutting down behind the heads. The 
box, in turn, must have rested on the typical low table as suggested 
by the upturned heads of the beasts. The carving is flat and deco- 
rative, of the Gothic heraldic convention. 

Length, 12 inches 


10S. 


GotHic REeLiquary Box CoveREeD 

WITH GEssO XV Century 
A small box with curved top like the old-fashioned trunks and a 
battened base. The decoration is of the age-old Oriental tech- 
nique—a covering of adamantine gesso [yeso] modeled, painted 
and gilded; the modeling in this case is in the form of a long Latin 
inscription beginning with MAGNIFICAT, in Gothic letters. The 
sides and top have two oblong panels each and the ends, one, con- 
taining in larger characters the Greek Jesus Christ, 1us xps. ‘There 
is considerable relief to the decoration and the rich red undercoat- 
ing shows attractively through the finely crackled surface of the 
gold. ‘The base is ornamented with quatrefoils within a lozenge, 
and the top is hinged in the primitive manner of the Egyptian cos- 
metic boxes, by means of two pairs of interlocked staples. Inside, 


the wood is painted blue. 
Height, 6% inches; base, 4% by 9% inches 


[See illustration | 


43 


106. 


Oe 


108. 


GILDED Woop STATUE OF SANTIAGO | 
AS A PILGRIM | XV Century 
Even earlier than the representation of St. James the Greater as 
a Moorslayer was his image as an apostle, clothed exactly like the 
pilgrims who kept constantly streaming into Spain to visit his tomb 
in Santiago de Compostela. Images like this—the saint wearing 
a pilgrim’s hat on which was sewn the shell, and carrying his book 
and stafi—were common all along the pilgrim route, not only in 
Spain but in France. Monsieur Emile Male tells us that the first 
statue of this sort can be seen at Notre Dame de Minizan, and dates 
from the early thirteenth century. The gilt of the Almenas piece 
is finely crackled and the undertunic is hatched horizontally. ‘he 
right forearm is missing. 
Height, 20 inches 


SMALL Bust oF A FEMALE SAINT IN. POLYCHROME 

Attributed to Gregorio Fernandez, XVI Century 
This head of a young girl, probably the artist’s daughter, shows a 
charming Castilian type. The head thrown back, the lips slightly 
parted, the eyes raised, seem to depict innocence and ecstasy. The 
rich warm colouring of the flesh is enhanced by the white lace- 
trimmed bodice. Over one shoulder is a mantle -of interesting 
estofado work. The bust stands on its original base. 


Height with base, 20 inches 


Note: In Gregorio Fernandez, 1576-1636, was crystallized the national art 
of image-carving as practised by the distinguished group of Valladolid sculp- 
tors. He was the author of numerous superb works now seen in the Valladolid 
Museum, especially the Santa Teresa and the Piedad. 


PAINTED Woop RELIEF XIV Century 


FLIGHT INTO EGYPT. This archaic piece shows the Virgin seated 
on a mule, in her left arm the Child, Whose hand strokes her cheek. 
A tree behind the head is arranged to suggest a halo. Some of 
the original colour remains, red in the robe and a greenish blue in 
the mantle. We have here the work of some local carver copied, 
probably, from the archivolt of a Romanesque church; Catalonia 
perhaps, since there is a very similar figure on one of the Catalan 
stucco altar frontals in the collection of Don Luis Plandiura of 
Barcelona. 


Height, 1244 inches 


44 


109. PoLYCHROMED Woop FIGURE 

Or ST. PETER XIII Century 
A vigorous figure, half life size, its colour well preserved. St. 
Peter as Pope stands in rigid Byzantine fashion. Beard and hair 
of tight curls; piercing black eyes in a strong face. The hands are 
gloved, with a book in the left while the right once held the crozier 
now missing. He wears the conical papal tiara, and is garbed in 
the usual white alb, gilded chasuble with painted border, and painted 


dalmatic. 
Height, 3 feet 
[See illustration ] 


45 


110. PatrR WooDEN STaATuES, HEAVILY GILDED XVI Century 


1 


Two Apostles in the nondescript long mantle common to Biblical 
imagery. The carving is spirited, the attitude is that of El] Greco’s 
Apostles at Toledo. The pieces are heavily gilded and stand on 
their original bases. a 
Height, 1514 inches 


TERRA-COTTA “STATURTIE- | | 
OF AN ANGEL a By Zarcillo, XVIII Century 


The figure stands on clouds, with its large black wings drooping as 
if just alighted after flight. “The robes leave bare the left shoulder 
and right leg in the oft-seen Baroque manner. Over the right 
shoulder, and passing between the wings, is a red scarf tied at the 
hip and catching up the loose girdle. In this latter are touches 
of red; otherwise the drapery is greyish brown. ‘The flesh tones are 
fresh, and there is fine modeling in the neck and inclined head, also 
in the slender hands crossed at the breast. 

Height, 12% inches without base 


Note: With Francisco Zarcillo or Zalcillo, 1707-48, the great epoch of 
Spanish national sculpture may be said to have terminated. Born at Murcia 
of a Neapolitan father, his earliest wood sculpture was remimiscent of the 
popular Presepe figures of the Campania region, but soon, without sacrificing 
any of his realism, he began to invest his figures with a depth of feeling 
and a nobility of composition that raised them into the realm of art and 
ranked him as equal to his distinguished predecessors of the seventeenth 
century. His works both in wood and terra-cotta remain mostly in his native 
city. 


WooDEN STATUE—THE Mater DoLorosa XVI Century 


A mature standing figure, grief stricken, with hands clasped at the 
breast. In the front an ochre-coloured dress shows beneath the 
long blue mantle; the head is draped in a white veil falling over 
the mediaeval wimple, which passes close up under the chin, and 
the whole drapery is a fine study of line. The face is very Castilian 
and full of character, the artist having realized that the Virgin was 
a woman who had been tried by life even before this last tragic 
event. 

Height, 174 inches; wooden base, 4% inches 


46 


113. SAINT MIcHAEL KILLING THE DRAGON XVI Century 
A beautiful little walnut carving of the Saint standing, his lance 
piercing the jaw of the crouching Devil, whose legs end in two ser- 
pent tails. ‘The statue was apparently once furnished with wings, 
otherwise it is intact save for the Devil’s horns. There is vigorous 
modeling in the body which in spite of the corselet is treated as a 
nude against a long cape falling from the shoulders. It is left in 


the natural wood. 
Height, 9% inches; base, 2% inches 


[See Illustration ] 


47 


fel 42 


Heap or JOHN THE BAPTIST 

IN TERRA-COTTA Attributed to Montanes [d. 1649] 
The terra-cotta life-size head of the Baptist is undoubtedly from — 
the usual composition of the newly severed head presented on a 
salver. Under the bronze patine can be detected traces of natu- — 
ralistic painting. The eyelids have not been closed nor the lips, 
in the intention of evoking Christian pity for the martyr. Further — 
realism was imparted by the naturalistic colouring now hidden 
under a bronzy patine. 

In a land where wood was “archaic the chosen material 


of the sculptor, works in terra-cotta are rare outside of Sevilla — 


where, in the fifteenth century, Pedro Millan made the fine series 
adorning the grand west portal of the Cathedral. Between Millan 


and Montanes a century passed. | 4 
Height, 10% inches — 


Note: Martifez Montafnes of Sevilla, an intensely earnest sculptor of 
religious subjects, broke entirely away from lingering classic influences of the 
sixteenth century and returned to what the Spanish people wanted—to the only 
thing that could provoke emotion in them—coloured scenes in the most realistic 
mode of expression. All who have visited Sevilla are familiar with his painted - 
statuary—rich robes of estofado, earnest melancholy heads, lean artistic hands; 
all the figure expressing dignity and pathos. In the present piece of barro 
cocido we have an interesting example of the skill with which Spaniards might 
have worked in this plastic material had not their passion for wood almost 
excluded all else. 


[See illustration ] 


48 


No. 114. HEAD oF JOHN THE BAPTIST IN TERRA-COTTA 


ie, 


GILDED REpoussE CopPpeR DipTycH XIT Century 


It may be well to recall that the diptych or two-leaved folding tablet — 
ornamented with devotional scenes, preceded the triptych or three- 
leaved form that came into such general Christian use in the Gothic 
period. This example, the Annunciation, has a pair of round arched 
leaves scalloped at the edge and was set with cabochon stones, long 
since pried out and leaving only the riveted setting. [he two sides 
are hinged on the butt system to a central shaft of rope twist. The 
gilded surface is etched and patterned with a quatrefoil and has a 
most attractive patine. The two attenuated figures, the Angel and 
the Virgin in half relief, are of the set tradition of the period. 


Height, 43¢ inches 
[See illustration | 


50 


116. GILDED STATUE OF A BIBLICAL PERSONAGE XVI Century 


117: 


Great action is expressed in this figure; the hands clasped above the 
right shoulder; the head turned over the left, and the weight of 
the body on the right hip. The face is beautifully carved, the fea- 
tures fine and expressing deep emotion as if witnessing the Flagel- 
lation or the Crucifixion. The surface of the statue is heavily 
gilded excepting the cape and scarf, which are of deep reddish 
bronze. ‘The work is probably of the Valladolid school of the 
middle sixteenth century and formed part of a retable. 


Height, 27 inches 


GILDED AND PAINTED STATUE OF 
ST. JOHN XVI Century 


A tall gaunt hgure with thin Pride and feet, accompanied by the 
lamb; clothed in a skin garment which, like the beard, hair 
and mantle, is gilded. [he mantle falls back leaving a bony right 
shoulder and arm bare, and is lined with black, gold-dotted and 
sprinkled besides with a small acanthus motif. In the left hand 
Saint John holds a gilded book with jeweled clasp and his right is 
raised as if enforcing by gesture the words he is preaching. ‘The 
face is intensely earnest; the lips parted as if speaking. All the 
gilded surface has a specially fine patine. It would be perfectly 
justifiable to ascribe this statue to Berruguete although the owner 
has never made such claim. 

Height, 2 feet 6 inches 


51 


118. 


Carved Woop STATUE OF AN 
ALDERMAN [CONCEJAL | AVI Century 
The “city father” stands as if arguing before his colleagues, his 
forensic robe gathered up under the left arm, while the right 1s 
making the age-old gesture appropriate to declamation. The head, 
evidently a literal portrait, is an interesting bit of characterization. 
The figure shows traces of paint and gilt. 
Height, 25 inches 


, 


119. 


i2o. 


i a 


CARVED STATUE oF St. JOHN 

IN NATURAL WALNUT XVI Century 
The figure is standing holding a book, and partly covered with a 
long shaggy robe. The face is of the primitive Spanish ascetic type 
with long thin nose and intense eyes set close together. Face and 
hands are beautifully carved. 


Height, 27 inches 


RELIQUARY Bust oF SANTA URSULA 
A CARTON, FROM THE ESCORIAL Dated 1577 


‘This head of Santa Ursula is unusual in being of hollow carton, 


treated like a painted and gilded statue of wood. Of heroic size 
and classic type, it has beautiful flesh tones and the hair is heavily 
gilded. Around the neck is a real necklace set with three little 
coloured stones, and on the breast is a large hinged brooch in 
gilded bronze that opens to show the relic. The statue stands on 
its original base which is treated to imitate coloured marble in the 
Baroque manner. On the left panel of the base appears the grid- 
iron and the initials of Saint Lawrence, to whom the Escorial is 
dedicated; on the right side is the monogram of the Virgin; and on 
the central panel the following inscription: CAPUTUNIUS VIRGINIS 
ET MARTIRIS SOCIARUM BEATAE URSULAE—PHILIPPUS II HISPANI- 
ARUM REX ME DONAVIT ANNO MDLXxviI. The bust was meant to 
be visible from all sides and is as carefully finished on the back as 
on the front. 

Height, 2 feet 


CARVED WALNUT STATUE XVI Century 
ST. MICHAEL AND THE DEVIL. The Saint represented, as usual, 
trampling down Satan, whose one arm clutches his shield. On the 
shield is carved the head of Goliath, implying the similarity of 
the legend of David and Michael. The Saint is in armour, his 
cape is thrown back over the shoulders, and the right arm is raised 
and once held a lance. The statue was originally gilded. 


Height, 27 inches 


G51: 


PRA 


PAINTED AND GILDED STATUETTE 3 | 
OF SANTA BARBARA a 18a eV Gan a 


This is the rarest and most beautiful of the so-called chuletas;— 
likewise it is somewhat disconcerting to classify. Instead of the 
custcmary representation of the Virgin, we have here a Santa 
Barbara with her attributes of tower and book; and instead of the © 
usual nondescript long mantle, she wears a carefully studied cos- — 
tume of Oriental aspect, looking like a mediaeval version of the — 
three-tiered skirt of the Cretan statuette recently found at Knossos. — 
The long slender waist is another unusual feature, one that con-— 
tributes greatly to make the profile enchanting. As to type, the — 
eyes are thoroughly Chinese, but the sensitive mouth and fine pointed 

chin recall Botticelli. T’wo long thick golden braids pass around a 
the head and then fall over the shoulders. Exquisitely delicate are — 


the hands, intact. ‘The long straight tunic is visible only towards — 


the bottom, being covered above by the shorter gilt skirt of two | 
layers, the lower with a wide flare. Its surface is stippled with 
lozenges and discs, and the border is of. alternate red and black — 
scallops. such as are seen on Eastern tents. In addition, the lower q 
flare has a border of black Gothic lettering, apparently the word — 
SANTA. A bead ornament ending in a large pendant hangs in 4 
front. Minute black letters and red initials can be made out on — 
the pages of the open book in the Saint’s hand. The walnut base 
without restoration. q 

Eeoke 5 inches; mee 5 inches: am 


[See laste 


54 


No. 122. PAINTED AND GILDED STATUETTE 
OF SANTA BARBARA 


123. SCULPTURED Woop STATUE OF ST. JOHN XVI Century 


GQA: 


12%, 


1120; 


_ Spanish, with features unsymmetrical and full of tense expression. 


a tall candelabrum. ‘The face is thrown upwards and to the right 


A striking figure in sombre polychromy in the school of Berruguete, — 
from Valladolid. The Saint is posed with the weight of the body | 
on the left foot; in his right hand he holds the Book and the Lamb. 
The head and face are admirably modeled in a manner thoroughly 


No less interesting in handling is the lamb, vigorously carved andl 
treated in an ashy grey estofado. In conformity with the tradi- q 
tion, the entire figure is decor ated in polychromy and gold. : 

mec 4 feet ?2 inches _ 


WALNUT STATUETTE OF SANTA BARBARA XV Century — 
Santa Barbara once held the wafer and chalice of which now only — 
the stem remains. Bushy curls escape from under a close small — 
headdress. She stands resting her weight on the right hip and the _ 
left side relaxed. The robes, once greyish sprinkled with little — 
black and gold flowers, have lost most of their decoration, and — 
only on the beautiful face and hands a the original painting intact. 

Height, 34 inches 


RELIQUARY Bust oF St. JOHN, Woop 

IMITATING BRONZE From the Escorial, XVI Century — 
The Saint gathers his lamb to his breast and holds his shepherd’s q i 
crook [curved top missing]. Features and hands are fine and sensi- 24 
tive, more the delicate Italian than the traditional sturdy Spanish 
St. John. An extraordinary metallic tint was secured for the flesh — 
while the hair and camel-skin mantle are in heavy gold, the two 
tones making a striking contrast. The bust stands on its original — 


carved and gilded base. _ 
Height, 22 inches — 


GILDED Woop STATUE OF AN ANGEL AV Century 
The typical Gothic conception of an angel [wings missing], holding 


and the figure is clad in a long tunic girdled at the waist and over it 
a long mantle fastened at the breast by a brooch. Both hands are _ 
concealed according to the reverent Oriental tradition; the right, 
which holds the base of the candlestick, at the same time catches up 
the folds of the cloak, while the left, which grasps the stem, is 
concealed under a gilded serviette. 

Height, 26 inches 


L2 


STATUE OF A SAINT IN NATURAL WALNUT XVI Century 
A standing figure of a Saint or perhaps an Evangelist with book and 
quill pen. ‘The under tunic falls to the ground enveloping the feet 
while over it is a dalmatic; the border carved in relief. The collar 
is treated in the same way. ‘The interesting head shows close study 
of the model; the hands too are full of character. The figure stands 


on a base covered with Gothic cut velvet. 
Height, 24 inches 


Wn 
“I 


4 
_— 


(28. CARVED PROCESSIONAL STAFF XVI Century 
Of wood gilded and polychromed, the cary- — 
ing again particularly interesting in that it — 
represents, as in No. 129, “The Tree of — 
Knowledge” sheltering the Tempter in the © 
form of a serpent with a woman’s head. In © 
this later example, the body of the serpent 
is short and incised with scales, and the 
Tree of Knowledge instead of being shorn — 
of limbs and bare of leaves is clustered thick _ 
with fruit and foliage, all in polychromy. 
The large single processional candle or — 
cirial is held by a single gilded socket in the — 
center ob theta a 
Height, 7 feet a 
[See illustration] 4 


58 


129. CARVED PROCESSIONAL STAFF XV Century 


Of carved wood gilded and painted. 
The subject is specially interesting as 
it represents ‘““The Tree of Knowl- 
edge,”’ sheltering the Tempter in the 
form of a serpent with a woman's 
head. The serpent’s body winds near- 
ly the full length of the pole. The 
tree has a gilded trunk and short leaf- 
less branches. It is to be noted that 
this representation of Satan the Temp- 
ter with the head of a young woman 
appeared for the first time in Spanish 
art in the early thirteenth century, the 
earliest example found being on a page 
of the famous thirteenth century 
Apocalypse manuscript now in the J. 
Pierpont Morgan library. In this, the 
older of the two processional staffs in 
the collection, provision is made for 
carrying the candles by three iron 
sockets driven into the end of the pole. 


Height, 7 feet 5 inches 


[See illustration | 


=i, 


130. PoLYCHROME STATUE OF A Doctor oF Law XV Century 


[See illustration | 


60 


A standing figure with head 
turned to left, clad in long robes and 
holding a book. ‘This statue is 
specially interesting in that Gothic 
sculpture of personages in civil life 
are rare and this is unquestionably 
a portrait made on the order of 
some rich advocate. The clean- 
shaven face, which retains its flesh 
tones, is carefully modeled, accentu- 
ating the characteristic heavy jowls. 
A long thin nose, keen black eyes, i 
short thick black curls, make a type _ 
of great force. The expression, in 


combination with the direction of 
the head, suggests a lawyer in the 


act of arguing his case. The hands 
are fine and sensitive and the delic- 
ate fingers have fortunately escaped 
mutilation. | 
Over the long under tunic is a 
copious mantle caught at the breast 
by a jeweled brooch. On this gar- — 
ment, once gold, there was an etched — 
pattern but the vandal who, ages 
ago, scraped off most of the gold, 
scraped the gesso with it. ‘he 


~mantle was lined with blue, and the 


red of the hat completed the poly- 
chrome. This statue is as fine a 
piece of characterization as one can 
hope to find within this period. 
Height, 1 foot 10 inches 


P 131. 


132. 


rq. 


mek NEE OR EB 


SMALL IRON TRIPOD XVI Century 


In the small circular rim at the top was placed the pitcher of wine 
[and a few cloves] to be set among the hot embers of the hearth 
where the wine was allowed to slowly mull for hours. 


Height, 8 inches 


IRON PRICKET CANDLESTICK Catalan, XIV Century 


This once common form of candlestick has a solid cylindrical shaft 
riveted to a tripod base whose extremities open out into three little 
discs. he shaft broadens out halfway down into a faceted knob, 
and becomes four-sided at the top and bottom. The surface of the 
whole shaft is filled with incisions geometrically patterned, which 
probably once held coloured enamels. 

Height, 11% inches 


WROUGHT IRON BRACKET AND SHADE 


The small right-angle bracket has a decorative brace in the 
form of a diminutive sixteenth century baluster enhanced by crock- 
eted wisps of iron. Traces of fire gilt remain. The shade is com- 
posed of an antique band of Sierra Morena embroidery, a red 
ground of silk chain-stitch leaving the pattern in raw linen.’ ‘The 
shade is edged at top with gold galloon and finished at the bottom 
with gold fringe. ; 

All the embroidered linen lamp shades from the Almenas house 
were made from similar antique bands worked in silk in a purely 
Oriental technique no longer practised in Spain, but still used in 
Morocco. The effect is created not by the usual process of embroid- 
ering the design, but by filling in the background and leaving the 
design blank. The filling is always of one only colour, and gen- 
erally in silk, the density being secured by row after row of flat 
stitch or long-and-short cross stitch. ‘Old bands worked on the 
system of negative pattern against a positive ground are generally 
the only remains of bridal towels. They are occasionally found in 
the Sierra Morena region of Spain, more often in North Africa, 
the Spanish being easily distinguished by their Renaissance motifs, 
and dating from the sixteenth and seventeenth centuries.’’—Stapley 
and Byne, Popular Spanish Weaving and Embroidery. 


Height with shade, 24 inches 


61 


134. 


135. 


136. 


ieee 


heey 


PaiR SMALL GILDED [RON | ‘4 

WALL APPLIQUES — 7 > 4° GI Centura 
Each bracket is made up of four twisted pieces used in the arm, 
a band of perforated leaf ornament for the candle cup, and a_ 
pierced quatrefoil for the bottom of the cup. The lampshades — 
accompanying these wall lights are made of antique bands of red — 
silk embroidery on linen, such as are described i in connection with — 
Number 133.: 7 


Diameu She cup, 4 inches 


Parr IRON Whi Abert WITH ae 
EMBROIDERED SHADES | — XV-XVI Century — 
The iron brackets are made up of the following pieces: a drip pan 
crenellated on its upper edge, a wall hook, and a shaft to support _ 
the shade. The shades are sixteenth century towel ends from the a 
Sierra Morena,—a rich embroidery of terra-cotta silk on white 
linen. The figures seated on the tail end of the donkey in Arab — : 
fashion and with arms swinging in the air bespeak the Oriental 7 

tradition of the district. 
Height with shades, 15 inches 


GoTHIc IRON KNOCKER | XV Century 


Genuine old ironwork in what was once a very popular form, the 


hammer being a lizard with scaly body, long legs and a twisted tail. _ 


The backplate consists of a traceried panel of superimposed plates; 
at the hinge of the hammer is a repoussé boss. 


Length, 11 inches 


Park IRON WALL BRACKETS 
WITH EMBROIDERED SHADES XVII Century 
Nicely wrought and hinged brackets, with spindled vertical shaft | 
terminating in a drip-pan supported by diminutive scrolls; traces 
of fire gilding. ‘The shades are of linen embroidered with red silk, 
the pattern formed in the blank. This is the traditional needlework 
of the Sierra Morena district and rarely encountered to-day. 
Total height with shades, 17 inches 
PAIR SEWING CHAIRS 7 
Walnut frames with turnings, and covered in green velvet fastened 
with perforated brass nails. Ladies sat either on cushions or on 
these diminutive chairs to sew. Their servants, at a distance, sat 
on low pine chairs with rush seats, while that of the mistress was 
generally of rich material. 
Height, 2 feet 3 inches 


62 


139. 


ae = nanan 


i 


RSS SE 


CARVED WALNUT STOOL XVI Century 


A good small piece in the style of Philip Il. Owing to the dearth 
of large plain chairs in the sixteenth century stools were more gen- 
erally employed in Spain than elsewhere. As a rule they are simple 
in construction and sought for to-day because of their well-worn 
surface rather than their art, but in this instance the piece is, of 
some importance. The top is moulded at the edges, has a hand-grip 
in the center and a carved apron under the seat, a refinement rarely 
met with in Spanish stools. The legs are turned at the top and 
square below with fillets on the four sides, and are connected by 
patterned stretchers. The piece is well preserved. 

Height, 19 inches; top, 12 by 19 inches 


[See illustration | 


63 


140. 


TAle 


142. 


Lone ToLepo DAGGER XVI Century 
Fine Spanish dagger, with shell-shaped guard from the famous 
weapon armouries of Toledo. The blade is gradually tapered and | 
at the hilt, just under the cross-guard, 1s beautifully patterned and © 
incised with the single letter B on both sides. More patterning a 
occurs on the wide cross guard. The grip is strongly wrapped in — 
steel cord and topped with an ornamental button. ‘The hand guard ~ 
is in the form of the cockle shell of Santiago with’ pg top @ 
and perforated sides. 4 

Lengene 22 inches 


Lone Sworp XVI Century — 
Beautiful weapon signed alike on both sides of the blade: xx 
ARNOLDTI xx BRACH xx IHN xx. Aside from this inscription the 
actual blade is otherwise undecorated. In contrast, the sword handle 
and guard are handsomely wrought and ornamented. The guard 
is in the form of an open shell of filigree with scalloped outer — 
edge to each extended half. The gap between the shells is taken 
up by a motif worked in strong steel wire. The handle is richly 


ornamented with filigree and on each side bears a vignette of a 


knight in armour. 
Length, 3 feet 8 inches 


CASQUE XVI Century 
Beautiful metal headpiece with elaborate Renaissance decoration 
showing traces of gilding. The casque is featured by the usual 
ridge-piece, gorget and ear-guards. Finely chiseled and engraved 
ornamentation extends along both sides of the ridge, across the 
neck-piece, over the beaver and ear-guards. The motifs include 
torsos in armour, cannon, casques, trophies all nicely composed 
and drawn together by festoons and garlands. The casque is 
studded with bronze nails and carries a little cartouche at the 
back of the same material. Ornamentation and cartouche are very 
Italian. 

Height, 12 inches 


64 


«143. 


144. 


145. 


146. 


CASQUE WITH VISOR XV Century 


A fine example of a mediaeval headpiece in perfect condition. It 
consists of three pieces—inner skull cap, a second or outer covering 
hinged at the ears to afford double protection for the forehead, and 
the visor with its neck plate. The helmet shows evidence of hard 
use, but is nevertheless complete even to the hook and eye holding 
the visor. Sumptuous pieces of armour for royal use are known to 
have been ordered from Italy and Germany, but many fine pieces 
and most of the strictly utilitarian armour were of Spanish make, ~ 
as may be seen in the Armeria of Pamplona. 
Height, 13 inches 
SINGLE CHAIR WITH WOVEN 
WooLeN COVERING XVII Century 


A high-backed walnut frame, Castilian in provenience, with a simple 


carved splat in front. Seat and back are covered with woolen weave 
made to size and shape, in the technique of the carpets of Cuenca, 
and in the same typical colouring—honey, cinnamon and blue, with 
a little pale green. On the seat is a panel of blue, and on the back 
an heraldic cartouche surmounted by a plumed casque with two 
running hounds. Both seat and back are edged with a multicolored 
silk fringe. There were once four chairs of this type in the family 
but the set was long ago divided by inheritance. It was always 
understood that they were ordered direct from Cuenca in the 
seventeenth century. Height, 3 feet 5 inches 


SMALL [RON HaNncinGc Lamp XVII Century 
The body of the lamp is square, formed by a delicate perforated 
screen patterned with the escutcheon of the Order of Santiago. 
From the four corners rise twisted iron volutes which grip the cen- 


tral ornate shaft. Traces of gilding may be seen. 
Height, 3 feet 


Paik WrouGHT ANDIRONS [morillos | XV Century 
To a lover of Gothic ironwork these simple household objects are 
of most interesting craftsmanship. The upright member, starting 
as a bar of rectangular section, was rapidly twisted while hot, 
each of its four faces scored with a deep line, and the top ham- 
mered back into a knob which still retains the ridges of its original 
four sides. Below the twist is a faceted collar. The horizontal 
member is triangular in section, and where it intersects the vertical 
there is a large fleur-de-lis appliqué, whose stem terminates in an 
animal head. Height, 25 inches; depth, 31 inches 


65 


tage 


148. 


149. 


150. 


LEATHER-COVERED WALNUT ARMCHAIR XVI Century ~ 


The frame is of the traditional Spanish form known as the frailero, — 
or friar’s chair, because of its general use in the monasteries. Dur- © 
ing the truly Spanish period of furniture, that is to say, until French — 
fashions were well established by the Bourbon kings of Spain, the 
designers wisely kept to this simple, one might almost say rigid, — 
frame, seeking richness in the covering and in the nails that held | 
it. As for the frame itself, its degree of elegance was generally de- — 
termined by the front splat which was often elaborately carved. — 
In the present case the leather back is tooled with the family escut- 
cheon embracing the five-pointed coronet. The quarterings show — 


a lion rampant and a hand grasping a sword. ‘The chief adornment 


is the large perforated fire-gilt nails, very effective against the dark 4 


leather 
Height, 4 feet 3 inches 


SMALL WaLNuT TaBLe witH Bracine Irons XVI Century © 


The Spanish small table was always a popular piece of furniture _ 
and no salon was complete without several. This example is delicate 


in design with turned and spiral legs braced by graceful scrolls of 


iron. The drawer face is paneled in relief and inlaid with bone 4 


lozenges. In good condition. 


Height, 1 foot 10 inches; length, 2 feet 9 inches; width, 1 foot 10 inches 


IRON RADIATOR SCREEN WITH 


RepoussEs PILASTERS _XVI Century 


ey 


The screen is built up of heavy plaques perforated to form a pleas- 


ing pattern of figures and scrolls. The corner pilasters are beaten 
into pattern on their two exposed sides—delicate tendrils and leaves 


rising from an urn. In the center of the screen panel is afhxed a 


cartouche surmounted by the castle of Castile and the lion of Leon. 
Height, 3 feet; width, 2 feet 6 inches; depth, 1 foot 2 inches 


WALNUT AND LEATHER ARMCHAIR XVI Century 
In olden times when noble families visited their various estates 
a good part of their furniture traveled with them, strapped to pack 
mules; hence the device of the collapsible frailero; by removing the 


twin screws that hold the splats and then unhooking the iron bar 


across the top of the back, the two sides of the frame are brought 
together for packing. For this type, floor runners, or sole-pieces, 
were indispensable for securing rigidity. In the present example 
we have the slightly curved arm, a refinement which as a rule indi- 


[Continued) — 


66 


- 


No. 


154. 


150. Concluded 


cates a later date than the straight arm. Leather and wood have 


acquired an admirable patine. Collapsible frame. 


Height, 4 feet 5 inches 


Low ARMCHAIR WITH BAcK AND SEAT 
OF ONE PIECE XVII Century 
These armchairs are occasionally seen in old houses in Spain, and 
are referred to as Philip II chairs, probably because that gouty mon- 
arch was constantly looking for a comfortable piece of furniture to 
ease his aching limbs. Most of those found to-day date from the 
seventeenth century. The structure is based on a criss-cross frame 
with the back arm much extended. The leather back in this example 
bears a beautifully embossed double-headed eagle, the ubiquitous 
emblem of Charles V, first of the Hapsburgs in Spain. 
5 Height, 3 feet 


FoLtpING [RON LECTERN XV Century 
Composed of four slender bars loosely twisted, and with graceful 
flare at the floor; half-way down they cross and are riveted scissors- 
fashion. At the bottom are two twisted stretchers, and at the top 
the corresponding pieces extend some four inches at each end and 
terminate in simple hammered bosses. Set into these are staples 
holding chains which run from front to back and support the book. 
The lectern is original and absolutely untampered with. 

Height, 5 feet 7 inches 


WaLNutr TaBLeE WITH BraAcING [RONS XVII Century 
A medium-sized walnut table with beautifully patterned legs of 
unique design and end stretchers to match. This sort of table leg 
generally indicates an Aragonese origin, the turned leg being pre- 
ferred in Castile, and the straight unfeatured leg in the north. The 
table is braced by good over-reaching irons with delicate discs in 


the center. 
Height, 2 feet 8 inches; length, 5 feet; width, 2 feet 4 inches 


WALNUT SERVING TABLE XVI Century 
A dining-room piece of the period of Philip II, nicely proportioned 
with projecting top, double drawers, and solamonica legs [the latter 
always in favor with Spanish furniture makers]. A note of dis- 
tinction is the outside stretcher. Appropriate dining-room furniture, 
aside from the table, is difficult to find in Spain. 

Height, 2 feet 10 inches; length, 3 feet 10 inches; depth, 1 foot 8 inches 


67 


jsp 


156. 


Hicu LEATHER-COVERED 

PORTUGUESE CHAIR AVIT Cena 
A chair of this type is known in See as a silla Portuguesa, white 
does not always mean that it came from Portugal, for many were 
made after the same model in Sevilla and Cordova, where they were 
in common use during the seventeenth century. ‘The type seldom 
varied in form: walnut with turned legs, claw feet, and a carved 
intertwined splat, the back high and peaked. Much art was ex- 
pended on the tooling and embossing of the leather, which 1 in this 
example is beautifully executed. ; 
Height, 4 feet 4 niche E 


PLATERESQUE LECTERN oF CARVED Woop = 

PAINTED AND GILDED XVI Conti 4 
This fine atril stands on a three-cornered base, each side of which — . 
contains a panel in relief with the typical Plateresque motifs of — 
cherubs, masks and trophies. ‘The carved baluster shaft is vainted tl 4 
in red and gold, while the stand on which the book lies is com- — 
posed of St. John’s eagle heavily gilded and perching on a scroll. — 
The bird measures from wing to wing some thirty-three inches. 


Height, 5 feet 1 inch 


[END OF FIRST SESSION] 


68 


2. 


158. 


159. 


SECOND SESSION 
Friday January 14, 1927 at 2:15 p.m. 
Catalogue Numbers 157 to 312 Inclusive 


PoACEEN COE 


SMALL HispANO-MoORESQUE COUPE XV Century 
The form is that of a deep bowl with stem and base, interesting 
because of its being decorated with the eagle of St. John, to whom 
Valencia was specially devoted and whose emblem was put only on 
the choicest wares. The ground is a light buff colour and the lustre 
is pale gold. The eagle spreads over the entire interior from brim 
to brim, while in the body or deepest part of the bowl is the sacred 
monogram IHS in Gothic letters. The outside is decorated with 
gold dots and splashes. [Repaired around the brim. | 


Height, 3% inches; diameter, 5 inches 


SHALLOW PATERNA BowL XV Century 
The potter's thumb, pressed five times into the wet edge of his 
bowl, made an interesting wavy brim. Outside, the piece is not 
glazed but inside it has the distinctive green and manganese heart- 
shaped decoration along with black triangles and scroll. 


Diameter, 5 inches 


Pair HisPANO-MOoRESQUE BOWLS XV Century 
These two bowls are decorated in pale gold luster. In the bottom 
is a luster shield within a blue circle. [he shield embraces the 
Gothic Y [for Ysabel la Catolica], and rising up from the three 
sides of the shield to the brim, three crowns in blue. In the inter- 
vening space is a luster leaf. On the back the bowls are decorated 
with luster circles encircling a splash, a common treatment on the 
reverse of fifteenth century pieces. [Slightly repaired. | 

Diameter, 514 inches 


69 


160. 


TO 


162. 


HisPANO-MORESQUE MUG | Xe Centum 


Both in form and decoration this piece is unusual amongst Hispano- 
Moresque wares. It has two handles and between them on one 
side is a spout which was once fitted with a metal stop-cock. The 
decoration consists of three graceful fern leaves on each side rising 
from base to brim, the leaves being white and ground blue. Base 
and neck are ridged and there is a deep gold band on the inside of 
the mouth. [Slight repair above one handle.] _ a: 


Height, 6 inches; diameter, 5% inches 


SMALL HISPANC-MORESQUE PLATE Valencian, XV Conta 


A deep plate of warm white ground decorated in blue and brownie 
luster changing to violet. In the bottom is a bird in luster, and | a 
above, two rows of vine patterning, the leaves alternately blue and 
luster. All over the ground both inside and out are small luster 

scrolls. [ Repaired. | m ‘J | 
Diameter, 6% inches 


SMALL PATERNA VASE XV Century — 
The base has a small globular body and long straight neck and is — 
decorated in the typical green and manganese. ‘The design, “pp | 
only from the bulge upwards, consists of three horizontal lines and 
between them the two green hearts enclosing leaves as so often seen 
on Paterna ware. On the neck are two green “‘V’s’” enclosing a — 
Paterna black triangle. The rest of the ground is covered wie 3 
small black scrolls. The piece’ is intact. — 

Height, 6 inches — 


Note: Transcript from an article by Dr. Kuhnel, Curator of the Islamic 
Section of the Kaiser Friedrich Museum, Berlin: “The Islamic section has 
recently acquired in Valencia, two little examples and a small number of 
broken fragments of a kind of Moorish ceramic decorated in green and man- 
ganese, the existence of which, outside of a few rare pieces (two in the 
Museum of the Louvre, for instance), are concentrated entirely in the 
Museum of Barcelona. ‘This ceramic comes from the excavations undertaken 
in 1908 at Paterna, one of the ceramic quarters of Valencia, on the site of the 
old kilns where, in rubbish heaps, innumerable small fragments had been al- 
ready found. Don Joaquin Folch I Torres, the zealous director of the Bar- 
celona Museum intervened in time to secure for his museum the total results 
of these important excavations, so that very few pieces have ever come upon 
the market.” 


7O 


i283: 


PaiR HispANo-MoRESQUE 

“BLoop Bow Ls” Valencia, XV Century 
The sangradera was an article much used in the days when blood- 
letting was the remedy for all ills and when the local barber was 
the surgeon. Sangraderas were made at all the chief pottery works 
of Spain, in cheap and expensive grades, the luster bowls of Manises 
being specially prized. The bowls have a handle at each side 
formed by a thick tongue of clay projecting horizontally from the 
brim. One of the pair, with handles chipped, has a bright gold 
fleur-de-lis in the bottom and around the upper edge the disjointed 
URBI ET ORBI inscription between two gold bands; the outside has 
alternate broad and thin gold bands. It shows signs of having 
often been placed in the live embers. The other has a bronze and 


‘purplish luster. In the bottom, a flower, above it a lace scallop 


decoration surmounted by the B inscription. The outside is deco- 
rated with circles. 


Diameter with handles, 8 inches 


HispANO-MoRESQUE PITCHER XV Century 


A pleasing and unusual form, long, deep, and flat-bottomed, resting 
on a stem and foot. ‘The greenish white ground is entirely covered 
with blue bars, vertical and horizontal, and between these is a 
smaller set in gold luster as if the idea had been to imitate the small 
patterned plaid weavings of the day. [Top repaired. | 


Height, 8% inches 


PaiR SMALL HispANo-MoRESQUE PLATES XV Century 


The plates have a very small centre rising to a pronounced boss. 
The ground is clear white and the luster coppery changing to ma- 
genta. One of the plates has a blue shield around the boss enclos- 
ing a luster leaf; from this rise nine panels, three of which contain 
blue quatrefoils, three a leaf, and three simple bands of cross hatch- 
ing. The back of the plate is decorated with concentric circles of 
luster. The second plate is also decorated in copper luster, the 
outermost border being an inscription of the recurrent B’s derived 
from the Latin URBI ET ORB; inside of this is a scalloped lace deco- 
ration around a blue centre. The back is decorated with luster 
circles. [ Repaired. | 

Diameter, 9% inches 


166. 


Lome 


168. 


back is a decoration of luster scrolls. The piece is intact. 


Diameter, 814 inches — 


DerEP HispANo-MoreEsque DIsH — XV Century 4 
The dish has a flat four-inch base on which is a bird’s wing in luster; 


_ 


i 
Se 


HispANo-Moresque Disu | XV Century 
This “brazier’’ type dish has a flat outer brim one and a half inches 


wide, and the rest takes the form of a deep bowl. The ground is 
a rich buff colour flecked with a very iridescent gold luster. In the | 
bottom is a luster rosette enclosed within a blue ring, and rising up — 
the sides are three blue groups of leaves with a circle between them — 
containing luster discs. Around the brim are six groups of blue — 
Gothic letters, separated by the same gold rings and discs. The 
letters seem to be intended for AVE MARIA GRATIA PLENA. On the | 


the rest of the decoration consists of an all-over leaf and vine of gold 


luster disposed within three horizontal bands. On the back is a 3 


series of concentric rings. [ Repaired. | 


DEEP PATERNA BOWL | AV Century — 


A rare and valuable piece, being a combination of copper-toned luster _ 
with the traditional green decoration of Paterna. Inthe bottom of — 


the bowl is a large luster rosette surrounded by interlaced arches 


from which broad green bands run up to the brim, dividing the sur- 
face into thirds. The pattern in these bands appears to be derived — 
from Arabic letters as can be seen on some of the best pieces in the 


Barcelona Museum. In the center of each of these thirds is the 
typical Paterna heart-shape in green. Outside, between two green 
bands is a luster zigzag and below it between two luster bands a 


series of whirls. The base, which is very concave, has a whirling - 


rosette in luster. [Brim repaired. | 
Height, 4% inches; diameter, 10 inches 


SHALLOW PATERNA BowL AV Century 
This is a sample of the simpler Paterna product, with its outside 


Diameter, 934 inches 


undecorated. On the inside in the center of the base is a green 


flower with a green shield-shape. Up the sides are green circles 
enclosing a flower and on the broad flat brim are two green lines 
interrupted at four points by a group of diagonal lines. [The brim 
has been repaired. | 

Diameter, 10 inches 


- 


170. SMALL HispANO-MorRESQUE VASE Granada 


E71. 


(72. 


This piece resembles in form the celebrated large vase found in the 
sixteenth century in a cellar of the Alhambra Palace and attributed 
to the early fourteenth century. The neck is long like a funnel and 
the body tapers down to a small base. Two wing-shaped handles 
pass from the neck to the globe [one of them repaired]. Pale 
luster vine leaves and tendrils make up the decoration. On the in- 
side of the mouth is a deep luster band. A piece somewhat smaller 
than this but otherwise exactly similar is in the British Museum. 


Height, 10% inches 


PatR CUERDA SECA PLATES XV Century 


Two shallow plates, the center of each rising into a small boss. 
The one with the rabbit design has a greenish white ground and the 
design is mainly blue and green. The brim is edged with a dark 
green band, inside of which is a yellow one; on the rabbit the col- 
ouring is capriciously divided, brown for the body and three legs, 
blue for the head and remaining leg, and green for the long ears. 
Discs and leaf forms are scattered over the ground. The bird plate 
has a yellowish white ground, a band of dark green around the 
edge, while the bird with its spread wings is all brown, perched on 
a blue twig. The glaze shines like glass. [Both plates have slight 
repairs. | 

Diameter, 10% inches 


Note: Dishes with these charming designs, and made by this same process 
were common household articles in the fifteenth century before the more 
sophisticated Italian painted decoration was introduced. Cuerda seca, as 
the process was called, referred to the outline of grease and manganese 
with which the pattern was indicated on the moist clay, and which prevented 
the colours from flowing together when floated over the intervening spaces. 
The colours on being baked rose into low blister-like relief, while the grease 
dried out of the broad outline. Cuerda seca decoration was practised in 
several of the pottery centers of Spain, but the wares of Sevilla are best known. 
A rabbit plate similar to the one here exhibited is in the museum of The 
Hispanic Society of America. 


HispANO-MorESQUE PLATE XV Century 
A shallow plate with whitish ground on gold and blue decoration. 
In the center within a gold ring is the sacred monogram IHS, in 
Gothic lettering. From this radiate blue stems full of small blue 
leaves and flowers with a gold center. [The whole ground of the 
plate is covered with thin gold tendrils. On the back are alternating 
blue and luster leaves on a ground of luster scrolls. [ Restored. | 


Diameter, 11 inches 


73 


L7; 


Lye 


HANGING FERN BowL Talavera, XVII Century 
This graceful bowl, hung with green silk cords, has a what g 
and a decoration in ochre and purple. Above the shoulder are : 
well modeled masks through which the cords pass, and betwee 
masks are pierced quatrefoils. Below, where the form narrow 
painted four different coats of arms, each with a cardinal’s 
hat and tassels are painted with ochre. The spaces between tl 
motifs are again pierced. . ) 


Pairk APOTHECARY JARS FROM THE ESCORIAL XVII Cen 


These jars are of the graceful shape called a/borella, so named be 
cause it imitates the section of the bamboo tree in ere the spices 
and drugs from the Orient used to be sent to Europe. The ground 
is flecked with blue and white and strewn with yellow spots; above 
and below a diagonal band of lettering is a shield, the upper 
of the monastery, the lower of the donor. In the former is the 
gridiron on which St. Lawrence, to whom the Escorial was dedicated, 
suffered martyrdom; the crown indicated that the monastery was 
royal foundation. The shield below the hand holds a lion and is on 
mounted by a cardinal’s hat with cords and tassels. The lettering 
on one of the diagonal bands indicates that the pot held Spica | 
Celtica and the other Lignum | Spongie. 4 a 


© 


es 


Height, 12 “inches e 


2 7 ' 


Sa 
Two DEEP VALENCIAN-MoRESQUE DISHES XVI Century 
These two little dishes are of the brazier type, meaning a deep 
center. One has a white ground with a small blue leaf and flower 
and in the bottom the sacred monogram in Gothic characters; this aq 
lettering is in gold. On the back is a decoration in large gold inter- 
lacing curves. The broken piece of the edge has been carefully re- 
placed. The other plate has a buff ground sown with blue leaves — 


alternating with a frieze, and in the bottom is a griffin of copper 
luster. a 


74 


176. 


P77. 


178. 


Two Hispano-Moresaue MepIcINE Jars XV Century 


The jars are of the typical Arab or bamboo-section shape, one deco- 
rated in copper luster and the other with gold. Both have a beau- 
tiful design of vine leaves in blue and luster with the stems and ten- 
drils in luster only. The taller jar has four horizontal blue lines 
around it and the other has five. [Both have been considerably 
repaired.] Pieces almost identical are exhibited in the Museum of 
the Hispanic Society of America. 

Height, 12 inches 


ParR TALAVERA PoTTrery JARS XVI Century 


Talavera [de la Reina, because it formed a part of the dowry of 
the queens of Castile ] was famous for its wares at a remote date, and 


important early pieces like the pair here offered are almost as much 


prized in Spain as Hispano-Moresque. The jars are of the phar- 
macy pot shape and with a series of moulded ridges at the shoulder 
and again at the base. The scroll decoration is left white while 
the spaces around it are filled with dark blue interrupted by yellow 
leaves and flowers. The main motif is a medallion enclosing a 
figure. On one vase, there are two medallions, oval, framed by a 
laurel wreath and holding the profile of a warrior; on the other are 
four medallions surrounded by blue and white lines and holding a 
cupid blindfold about to let the dart fly from his arrow. At the 
neck of each bottle a row of little arches is drawn in black and filled 
with a yellow and blue splash. The more robust quality of the 
clay and the resistance of the glaze as compared with the later and 
more plentiful examples of Talavera products will be easily rec- 
ognized. Absolutely intact. 

Height, 1314 inches; diameter, 9 inches 


SMALL TERRA-COTTA OIL JAR 

WITH HANDLES XV Century 
The tinaja of unglazed coarse reddish clay was made for holding 
either oil or wine, principally in Toledo, Seville and Granada. ‘The 
present example is of graceful form,—-a small base and wing-shaped 
handles. On the handles and neck are traces of a green glaze. 
Running around the shoulder of the vase are concentric ridges and 
below a broad horizontal band of incised quatrefoils within circles. 


Height, 13% inches 


“I 
Wi 


179. A Deep TERUEL PLATE | ve eA a Century 


180. 


alee 


Teruel in Southern Aragon still contains many vestiges of the 
various Moorish arts that once flourished there. Its pottery bears 
close resemblance to that of Tunis and of Paterna [see No. 162 ]— 
an oyster tone for the ground with green and black decoration. 
The plate here exhibited is absolutely intact and has a small flat 
base from which radiate four cardate leaves outlined in bold green — 
and black, and with a scroll in the center. The brim is decorated 
with green scallops like lace, their centers cross-hatched diagonally : 
in black. ‘The surface of the plate is most beautifully crackled and 
the green is almost lustrous. Old plates not unlike this have been : 
also found in Majorca. aa = 


Diameter, 14 inches — 


| 3 
A Hispano-Moresque Dis Manises Ware, XVII Century — 


This is an imposing though late piece of luster ware and is abso- — 
lutely intact. In form a base rising in a large boss like an in- — 
verted plate, from which the sides rise sharply to the broad four- 
inch brim; this slopes considerably upward. The ground tone is 
buff and the luster is gold changing to green and blue. Around the 2 
brim is a luster decoration of the tulip motif bordered by a luster — 
band at the outer edge and a blue at the inner. Blue circles appear 3 
at the upper and lower edge of the base, while on the back is a 3 
decoration of circles in luster. oe 

Diameter, 1814 inches; depth, 4 inches a 


MIS CEL Lb ANOS 


PEDOMETER XVII Century — 
A unique piece in perfect working order for registering the distance 
walked. The mechanism is guarded in a small metal case, brass 
dipped in gold and engraved on its principal face. The register 
dials are of steel. From a lever at the side was attached a cord “@ 
which connected with the leg of the pedestrian. As indicated by the 
hook at the back the case was fastened to the belt, and to judge by _ 

its worn surface it once served as a practical instrument. 


Height, 3 inches 


76 


£2. 


183. 


184. 


SMALL PAINTED LiIMoGES ENAMEL XVI Century 


SAINT JEROME. The typical composition of Saint Jerome in the 
desert painted on the usual black ground of the late Limoges wares. 
The copper plaque is rounded at the top; to the left kneels St. 
Jerome before his rustic altar, on which rests a scroll. He is nude to 
the waist and in his hand is the jagged stone with which he has 
been mortifying his flesh; crouching near-by is the faithful lion; his 
Bishop’s hat lies on the ground. Beyond the fine flesh tints there 
is but little colour save the blue-green of tree and ground; the 
drapery is white. To the left side under the curve of the arch in 
gold letters we read: Sancte Jeronimee. ‘The piece is in perfect 
condition except where slightly chipped on the lower right corner. 
Height, 314 inches 


SMALL FOUR-FACED BRONZE CLOCK WITH BELL 


An intresting little upright clock in Plateresque style, its mouldings 
and corner pilasters cut with the chisel and its whole surface etched; 
surmounted by a steel bell with fine timbre. ‘The time face has 
Roman numbering up to twelve and Arabic up to twenty-four. The 
opposite face indicates the months on the larger disc and the days on 
the smaller. On the principal face a hunting scene is etched; the 
month-and-day face has an allover scroll pattern, while on the other 
two sides there is a Crucifixion and the Worship of the Brazen 
Serpent. Small clocks of this sort where the pendulum is visible are 


called Mosca or fly clocks. 
Height, 7 inches 


SMALL HispANo-MorESQUE JAR WITH FouR HANDLES 

XVI Century 
A typical orza or compote jar, globular in form and with four loop 
handles from shoulder to brim. The ground is a beautiful warm 
white and the luster of copper tone. Three horizontal blue bands 
and three blue lines outlining the luster handles enter into the deco- 
ration. On the bottom is a band of degenerate inscription derived 
probably from Ave Maria. The inside of the neck is decorated 
with luster. This is a fine piece and absolutely intact. 

Height, 8 inches 


77 


ese 


186. 


Tioa7. 


188. 


PrerA IN CARVED JET XVI Century 
The piedad and its Renaissance frame are carved in one piece. The 
subject is a typical Italian composition and it is fitting that it should 
be framed in a tabernacle form. Jet (azabache) was used for cary. 
ing in the northwest of Spain from the early days of Christianity. 
Asturias yielded the material plentifully and when the pilgrimage. 
to Santiago began to attain great vogue, good-luck amulets and 
small images of the Saint were carved in great numbers to be sold 
not only in the city of his shrine but also all along the Pilgrim Route. 
Later, when the high and lowly of Europe left off tramping across | 
northern Spain to visit Santiago de Compostela, the azabacheros 
turned their attention to other figure subjects besides St. James; 
but owing to the fragility of the material not many of the immense . 
number of small carvings have survived, hence a perfect piece like E 
the present one is highly prized. ‘The bereaved Mother holds the 
lifeless form of her Son across her knees. ‘The carving is in the | 
high relief of the period and shows close study in the two faces and = 
the nude body. Filling the round tympanum of the little tabernacle S 
is a winged cherub head. a 
Height, 434 inches 


SMALL FLat HEXAGONAL TaBLE CLOCK XVII Century ~ 


SMALL INLAID TABLE Box XVIT Century ya 
Small box or cabinet with let-down lid, fancifully inlaid with walnut, s 
box and maple. The bolder pattern in walnut is geometric in form; 
the lighter forming the background is floral. The interior is set out 
with eight little drawers each with the same inlay as the exterior. 4 
The drawer- pulls are of brass in the form of a diminutive lion’s head ~ 
with a ring in the mouth. [The exterior lock of the cabinet is 
missing. | A 

Height, 8 inches; length, 11 inches; width, 7 inches 


ALABASTER STATUE OF SAINT GEORGE XVI Century 
Saint George is the patron saint of Catalonia, where alabaster was 
much used. He is represented as a mediaeval knight with long 
plumes waving from his helmet. In this spirited composition the 

[ Continued | 


78 


190. 


188. Concluded 


rearing steed is trampling down the black-scaled dragon while the 
rider pierces it with his gold-tipped lance. The sculpture retains 
many traces of gold. ‘The horse’s tail and trappings, even to the 
insets of tiny rosettes in the hoofs, were gilded, and the Saint’s cloak 
was painted red. At the back of the stone was left in the rough and 
meant to be placed against a retable. 

Height, 21 inches 


ALABASTER Brrp By Gil de Siloe, XV Century 


This sort of bird, designated in Spanish art as a bicho, is similar to 
those adorning the corners of the star-shaped pedestal of the royal 
tomb at Miraflores, the masterpiece of Gil de Siloe. In fact the 
alabaster appears identical in tone and texture and might well have 
been intended for the group. The bird’s wing is caught by a griffin, 
and such details as feathers and claws are beautifully carved. 

Height, 17 inches 

Note: Gil de Siloe, father of Diego, was the most distinguished of the 

notable group of late Gothic artists who worked in Burgos, where he pro- 


duced a number of elaborately sculptured tombs which rank among the most 
important products of the late mediaeval period. 


ALABASTER Heap oF St. JOHN THE BAPTIST 
XIV-XV Century 
Head and salver are carved from one clear piece of alabaster, a 
substance which abounded along the Ebro River and was much 
esteemed for its superior quality by Spanish sculptors. The head is 
in half relief and the eyes and lips are painted, while the thick hair 
and bear are gilded [over red paint]. At each side is a full- 
length angel similarly coloured and gilded (one head missing), and 
at the top an angel half-length. The piece is probably from Aragon 
where the important and enormously rich monasteries of Poblet, 
Santas Creus, Piedra, etc., ordered an infinity of works in alabaster. 
Diameter, 1334 inches 


£9 


LOT: 


192. 


193. 


. each side of the clasp is pierced a jour but the rest of the band is in 


the scroll he holds are the only parts ungilded. On the scroll 1s 


Lev EER 


GILDED SILVER PERFUME BALL | Wa Century 


A little swinging censer or pebetero, hinged into. upper and lower 
halves, the upper perforated at the top and with a ring for fasten- 
ing a chain. The inside is lined, its upper half lifting out as a_ 
lid with a little leaf to serve as handle. The ball has a flat base | 
and the lower part of its surface is etched with acanthus motifs. 
The upper has a band of modeled ornamentation which has minute | 
torsos of grotesques separated by a floral design. The torso at d 


relief against an etched ground. On the tiny plate of the spring ~ 
clasp are the characters IO.Z. A perfume ball exactly similar save — 
for its purely Oriental decoration is in the British Museum, Cairene 7 


art of the thirteenth century. ne a 
--Height, 2 jee : 


"3 


SILVER GILT PERFUME BURNER | eae ead Century 
An interesting object in three tiers, including the top, and projecting — 
from each stage three shells. The bottom compartment held the — 
incense; in the next a small quantity was placed to be ignited and © 
through the topmost which is perforated the odour escaped. The — 
surface is etched with a simple strap design on a stippled ground. 


The cover and the inside still retain their gold. - 
Height, 6 inches a 


Two SILVER STATUETTES 
By Juan de Arfe y Villafane, XVI Century 
Diminutive though these pieces are they are excellent specimens 
of Arfe’s work. The Prophet Isaiah is an energetic figure, head 
thrown back over the right shoulder and exhibiting remarkable 
modeling in the face and the twisted neck. Bearded and turbaned, 
he is a true Asiatic type as though some Arab of pure blood still _ 
lingering in Spain had sat as the model. WHead, hands, feet, and 


written in Roman letters, ‘‘ESAYAS’’. 

This little seated figure undoubtedly came from one of the 
famous Arfe custodias whose every niche and angle are filled with 
just such pieces. 


Y ™ Se ah 
p SUE RRS > hs Si aS 
bea og 


[ Continued] 


sie) 


a 


193. Concluded 
The cther Biblical statuette is that of an old man kneeling, his 
hands clasped in prayer. The long hair and thick beard suggest 
one of the Patriarchs. Forehead and cheeks are searchingly mod- 
eled and everything about the figure bespeaks the most earnest 
attitude of supplication. 


2% inches and 2% inches respectively 


Note: Juan de Arfe was the third generation of the noted family oc silver- 
smiths that supplied Spain with its finest orfevrerie. Born in Ledén in 1535, he 
was the first of them to depart from the Gothic style and introduce Renais- 
sance motifs and treatment into the imposing monstrances [custodias] used in 
Spanish Cathedrals. Not only did he design these pieces but it is said that 
he personally did the founding, chiselling, and gilding of many of them down 
to the last detail. Author of the custodias of Valladolid, Avila, Burgos, Osma, 
Escorial, and Sevilla, he considered this last his best, even better than that 
of the Escorial, which, besides the silver figures, is adorned by some sixty 
copper busts for holding relics. 


[See illustration | 


81 


194. SILVER ALMS PLATE WITH COLUMNAR BASE XVI Century 


This fine piece of silver smithery is stamped with the mark of 
Cordova. It is unusual in having retained the two figures, called by 
the Spanish /as animas [the souls], for these have disappeared 
from most of the old limosnero plates, having been sold separately. 
The souls are usually Adam and Eve but in this case they represent 
two male figures, one old and one young, entirely nude and appar- 
ently imploring mercy while awaiting juddgment as to their fitness 
to enter Paradise. The figures are most exquisitely executed, of 
classic perfection, and the head and hands are engraved. This 
piece was exhibited in the Exposition of Spanish Orfebreria, by the 
Sociedad de Amigos de Arte, Madrid, 1921. ‘ 
Diameter, 12 inches ; 
[See illustration | : 


82 


cen s. 


SILVER PLATTER_ XVII Century 


A deep platter with pierced radiating design and solid rim an inch 
and a half deep, this embossed in foliate border and scalloped at 
the outer edge. Exhibited at the Orfebreria Exposition of the 
Amigos de Arte, Madrid, 1923. 
Diameter, 15 inches 
[See illustration | 


SILVER CHALICE 


A simple cup on a stem, the lid once surmounted either by the Cross 
or acrystal orb. The inside is gilt. Around the flare base are little 
repousse and etched discs, and the same treatment is repeated on the 
lid, which is edged by an anthemion cresting. ‘The chief decoration, 
however, is the beautiful embossed lettering around the cup in 
Gothic characters, the words separated by a tendril. The legend 


begins HIC EST CORPUS DNI. 
Height, 6% inches 


83 


197. A SILVER CHALICE XVII Century 


A beautiful chalice heavily gilded, with a separate bowl inside. The 
body is six-sided and has a lozenge-shaped base, the whole sur- 
mounted by a crystal orb topped by the Cross. The decoration 
consists. of embossing and etching with the dolphin’s form con- 
sistently used throughout, also chiselled into projecting brackets. 
Around the top, free-standing is a band of anthemion cresting. An 
inscription beginning ABEVERUM . . ., runs around the body of the 
chalice. This is an important piece of Spanish ecclesiastical silver 
work exposed in Madrid, 1924. | 


: Height, 1514 inche 
[See illustration | : 


84 


198. 


199. 


BYZANTINE RELIQUARY XVI Century 
In silver, enamel and boxwood. 
Height, 934 inches 
[See illustration ] 


SILVER PITCHER XVI. Century 
The pitcher rests on a short stem opening out into a wide base and 
has a prominent angular handle. Embossed on the body is a rich 
band of hunted animals between two mouldings of considerable pro- 
jection, and above this a‘flat engraved pattern of scrolls and leaves. 
Embossed ornamentation again occurs on the base and the handle is 
beautifully worked in cartouches; the lip is adorned with a grotesque 


mask. The silversmith’s mark is unrecognizable. 
Height, 8'% inches 


200; 


Four SILVER MEDALLIONS IN HiGcH RELIEF XVI Century 


The four pieces of silver-smithery which are here mounted on an 
amethyst velvet panel, came from the base of one of the great 
Plateresque monstrances. ‘The scenes depicted are: the Annuncia- 
tion, containing two figures; the Resurrection with three; the Adora- _ 
tion by the Shepherds and the Presentation in the Temple, with five 
each. ‘The Virgin of the Annunciation kneels in prayer under a 
shell niche on which perches a dove, and turns toward the angel; be- 
tween them is the classic vase with a lily. In the Resurrection scene 
the startled Roman guards awakening at each side of the tomb and 
clasping their shields and swords show fine action. More reminis- — 
cent of Gothic is the Adoration, where the Virgin kneels under a 
rustic gable, an ox peering over her shoulder, and where the 
bearded shepherd nearest the child holds a tiny candle and shields 
his face from the flame. The scene in the Temple is again more 
classic, the figures tall and the Virgin holding the Child towards 
the High Priest Simon, above a draped Roman altar. ‘These are 
excellent examples of Spanish figure work at small scale, not un- 
worthy of the great platero Juan de Arfe [see No. 193]. 
Diameter, 214 inches 


Exhibited in the Orfebreria Espanola in 1923. 


[See illustration | 


86 


201. 


7 SFR x 


we 


SILVER BENITIER WITH HANDLE XVIII Century 


This sort of bucket, or acetre, used in church for bringing holy 
water from the sacristy to the altar, is of graceful inverted bell- 
shape, with handle of triple curve. ‘This is riveted to the rim and 
the rivet is concealed by finely executed classic masks. The body of 
the vessel is deeply fluted and has at the top a narrow embossed 
band surmounted by a deeper one of engraved pattern. Exhibited 
in the Orfebreria Exposition of Madrid, 1923. 


Height, with handle raised, 151% inches 


[See illustration | 


87 


ZOZr 


203: 


204. 


2058 


oy 
Lip oF A GOTHIC SILVER CHALICE XV Cent 
An interesting bit of silver-smithery i in two diminishing stages, each 
six-sided with turrets at the angles. Each tier is surmounted by a 
little fleur-de-lis cresting, and the top terminates in a dome. [ e 
tracery around the sides simulates Gothic church windows and the 
top is likewise architectural, imitating a sexpartite ribbed dome. 
Height, 634 inches 

s : a 
SILVER PiTCHER 3 _ XVI Centurg 
The form is interesting; a series of heavy ribs rising from the stem — 

and seeming to grip the body of the pitcher. ‘There is an engraved 
band of ornament between two little mouldings, which shows traces” 
of once having been gilded; the handle has a curious hook shape and — 
the lip takes the form of a faun mask. There 1 is noundrk: | - 


Height, gy incheg * 


BRO NIZA ES 


GILDED BRONZE Mask Roman — 


en 


Representing a satyr, and found at Mérida. me: 
Height, 8 inches — 


BRONZE STATUETTE > | Itahan, XVII Century . 


Venus Anadycmene. es the oneing by) UAnticon. 
Height, 6 inches 


BRONZE ATLAS Italian, XVIII Century 


Model after the original by II Riccio. | 
Height, 7 inches a 


88 


207. EQUESTRIAN STATUETTE IN GILDED BRONZE 
Italian, XVII Century 


It represents a Roman Emperor on a horse. Black marble base. 


Height, 334 inches 


[See illustration ] 


89 


208. SMALL BRONZE STATUETTE Roman Period — 
A Roman Lar holding in his left hand a rhyton. \ 


: Height, 414 inches 
[See illustration ] a 


go 


PO PPE IY Ao Me™ ares 


STATUETTE IN BRONZE | Italian, XVI Century 
It represents St. Paul with an angel; he holds in his left hand a 


book and in his right a sword. 
Height, 9 inches 


[See illustration ] 


gI 


(210, 7BRONZE OTATUEILE 7 
By Andrea Briosco, called I] Riccio; Paduan, Early XVI Century — 


It represents a satyr holding a flute. : 
Height, 7 inches 


[See illustration | ae 


92 


CS eee a y's 


PAIR OF SPANISH BroNzrEs GILDED XVI Century 
Inscribed SAN PABLO and SAN MATEO, but even without the Spanish 
spelling the figures would be easily distinguished as to provenience 
by their typical energetic movement, similar to that seen in the many 


wood carvings of Biblical personages in the sixteenth century. 
Height, 934 inches 
[See illustration | 


93 


212. SMALL STATUETTE IN GILDED BRONZE Italian, XVI Century 


Representing a man in Venetian costume. | 
Height, 21% inches 


[See illustration | 


OF 


Bry. 


h. 


BRONZE STATUETTE REPRESENTING AN 
ANATOMICAL FIGURE Florentine, Middle of the XVI Century 


Standing on his left foot, the right one raised from the ground, is 
a male figure resembling a skeleton. His left arm is raised above 


his head; the right arm swings free. 
Height, 8% inches 
[See illustration | 


95 


214. BRONZE STATUETTE OF VENUS 


Atelier of Giovanni da Bologna; Itahan, XVII Century j 
Mode] after the Venus of Cnidos. 


Height, 9 inches 
[See illustration | 


96 


215. BroNZE STATUETTE Italian, XVI Century 


Representing a buffoon. 
Height, 11 inches 


[See illustration | 


97 


216. SILVER GILT BUST OF THE EMPEROR CHARLES YV 


| XVI Century 
Bust made from a model by Leone Leoni [1509-1592] by an Augs- 


burg orfevrer, for a table garniture. It represents Charles V in 


armor. Marble and bronze base with insignia of the Order of the 
Golden Fleece. A unique specimen. 


Height, 1114 inches 
[See illustration | 


98 


S217. 


218. 


z109. 


| 220. 


A Wea a, S08 Bd Gl Sg) DRS 


THREE SMALL QUATREFOIL CUSHIONS 


An amber pair is of cut velvet of a large sixteenth century pattern. 
The third is of old-red velvet on one side and red damask on the 
other. 3 


20 inches square 


Hoop oF A CaPpA MAGNA XVI Century 


A capilla richly embroidered in gold thread and silk, and with the 
galloon and the architectural part of the picture woven into the 
fabric. [he scene appears to be the blessing by Our Lord of one 
of His disciples, in the presence of two others and two angels. The 
two principal figures are in a blue, the others in green, old rose and 
yellow. They stand on a tiled floor of alternate gold and silver 
squares separated by stitched lines of old rose silk. Long vertical 
stitchery is seen in the clouds, couched horizontally by gold thread. 
The capilla is edged with red and gold espiguilla, a gimp with looped 
edge. 

18 by 20 inches 


PAIR EMBROIDERED RED VELVET PANELS XVII Century 


Within a wreath heavily embroidered in gold and silver is a motif 
evolved from the double-headed eagle and so designed that the 
velvet, left visible in the center, is in the form of the dagger-cross of 
the Order of Santiago. In each corner of the panel is a silver 
pilgrim-shell, and others are seen in the border. The panels are 
edged with gold and red galloon [espiguilla] and have a gold fringe 
at the bottom. 

24 by 20 inches 


PEACH-COLOURED VELVET CUSHION 
The velvet is of unusually beautifully colour and is divided into four 
panels by a narrow gold espiguilla with which is woven a narrow 
silk fringe. The back of the cushion is of old green damask. 
Around the edge is a scalloped silk fringe of alternate white and 
peach colour, and at the corners are beautiful tassels of gold thread 
knotted around little chenille buttons. 

32 by 20 inches 


oF 


PRP EANS 


222. 


ayy ee 


224. 


| papal throne. 


Oriental weavers who still lingered in Spain; but though much of ; 


EMBROIDERED Hoop FROM A COPE XVI Century 


In the making of ecclesiastical vestments, which was a great industry 
in the sixteenth and seventeenth centuries, the hood or capilla of 
the circular capa magna was the special object of the embroiderer’ s 
attention. Generally heavy with gold and silver thread and ter- 
minating with a rich tassel, it outlived the damask or velvet of the | 
cope. The present example is woven in gold, embroidered in silks, — 
and is edged with a splendid gold galloon woven to shape. The 7 
figure represents a pope yg a | the triple tiara and seated on the ~ 


18 by 22 inches — 


TaBLE RUNNER OF RED SILK WITH VELVET BORDER 

Ahi Conceal 
Long runner [originally an altar doth] with central panel of gold — 
tissu pattern on red silk and with edging of gold galloon. ‘The 1 
border consists of a wide strip of Burgundy-coloured silk covered 
with red velvet appliqué, stitched with gold thread, finished by a q 
fringe of close-cut red and white silk. ; 
22 by 106 inchesas 


VELVET STRIP WITH ORPHREY PANELS AVIT Century 


Black velvet table mat with corner tassels, edged with galloon, and — 
lined with blue silk. The two orphreys are beautifully embroidered 
in gold, one representing St. Stephen with an almoner’s purse. The — 
backgrounds are worked in high relief representing a temple interior — 
in Byzantine Gothic, with twisted columns at the side and simulated? 
vaulting beyond. In good condition. 
3 21 by 50 inchesl 


TaBLE RUNNER IN RED VELVET AND GOLD THREAD WEAVE | 

XVI Century 
An important strip of two pieces in the typical medallion pattern 
of the famous Broussa textiles of the fifteenth and sixteenth cen- 
turies which were so much sought by Spaniards and copied by the 


it was made in Spain, this sort of rich red velvet on a gold ground ~ 
is always classed commercially as Florentine brocade of the 
fifteenth century. ‘The piece is edged with a gimp or espiguilla and 
has a double fringe, gold above and red silk below. 


Length, 62 inches; width, 22 inches 


100 


225. 


226. 


227. 


228. 


PAIR EMBROIDERED STRIPS 


Coloured silks on red velvet, and edged with gold espiguilla. The 
work appears to be of the early sixteenth century. 


48 by 8 inches 


STAMPED VELVET HANGING XVII Century 


On a background of mauve-coloured silk velvet is stamped by a 
block-print process a striking design in brilliant colours. The art 
was much practised in Catalonia and Majorca in the seventeenth 
century. he design is typical of the period, bold scrolls and volutes 
in chrome yellow, clusters of flowers in red, and the whole inter- 
spersed with green foliation. To accentuate the design the motifs 
are strongly silhouetted in line. 

52 by 80 inches 


APPLIQUE VELVET TABLE RUNNER XVII Century 


A sumptuous strip of silk appliqué on velvet in late Renaissance 
design, edged with green silk. [he pattern is dense [in Spanish 
cuajada | so that the velvet is almost eclipsed. The principal colour 
employed in the appliqué is an ivory-toned silk, enlivened here and 
there with insertions of green, blue, and yellow. ‘The process is a 
painstaking one; either the edge of the silk must be turned under 
and the double thickness sewed down, or, as in this case, the silk 
edged with double cord and stitched in place, without which pre- 
caution the appliqué would be short lived. 


Length, 72 inches; width, 22 inches 


Five GREEN SILK CURTAINS 

These curtains are made of alternating widths of small patterned 
sixteenth century damask and plain silk of the same shade. ‘The 
sides are finished with green silk fringe and the bottoms with gold 
fringe. They were hung by hand-made iron rings and pulled by 
green silk cord with fine old tassels. 


Length, 6 feet 6 inches ; width, 1 foot 


IOI 


229. 


BO: 


231. 


_ the heavy brocatelle altar cloths of the previous century. At each 


colour combination. The piece is lined with old red linen. and As in 


An old-rose silk with bouquets of flowers, from the looms of 


bodies curving away so as to form a complete circle; in composition 


TABLE RUNNER OF RED AND GoLp SILK ss XV Century 


Of heavy silk with twilled ground and gold design in. satin weave. 
The piece is evidently a seventeenth century reproduction of one of 


end is a panel of lustrous cherry-red on a gold twilled ground. The | 
sides are finished with a narrow espiguilla of alternate red and 
white, while at the ends there is a deep knotted fringe of the same 


excellent condition. fee 7 
; 22 ae 104 ince 


FLOWERED SILK CAPE or ie) Los’ ro TG 


Talavera de la Reina. The cape probably belonged to an impor- a 
tant image of the Virgin, since it 1s cut with a train. The general 
tone is particularly beautiful and is enriched by a prodigality of silk — 
in the patterning. A silvery effect was obtained in the meander — 
stripe by means of a thread of very pronounced luster. 


Diameter, 112 inches — 


Rep BROCATELLE HANGING, GoLD THREAD 

Early XVI Century 
Important piece of weaving dating from: circa 1500, and known as 
tela Hispano-Arabe. It is in three widths in the form of a hanging ~ 
and is remarkably well preserved. The background is a soft deep 
red in colour animated by an Oriental pattern woven in combined 
thread of gold and yellow silk. The weight of the fabric alone 
attests to the quantity of gold thread employed. ‘The pattern, like 
all Hispano-Arab weaving, is compact and small in scale; it consists 
of two conventionalized dolphins facing each other but with their 


with them is an urn of stiff flowers and buds. As readily seen it is 
a version of the classic Persian motif of peacocks or lions and the — 
fountain of life. The fabric is in excellent condition. 


5 by 7 feet 


102 


TABLE COVER OF GREEN SILK AND LINEN EMBROIDERY 


XVI Century 


This piece was once originally a towel, green silk having long since 
been substituted for the fine linen center which was worn thread- 
bare. [he embroidered ends and sides which have survived were 
worked on a frame and the execution 1s equally admirable on both 
sides. [he work is done in coloured silks which have retained all 
their luster, and gold thread which has never tarnished.  Inter- 
spersed among the larger motifs are minute birds, butterflies, and 
buds. The outer edge retains its antique narrow lace of linen, green 
silk and gild. On the inner side of the embroidery, where it 1s laid 
against the green center, there is an insertion of gold thread and 
brownish silk. All the elements used appear to date from the 
sixteenth century. 

40 by 50 inches 


[See illustration | 


103 


233. Four Rep Vetiver Hancines witH OrpHreys XVI Century : 


These four pieces constituted the hangings of a pretentious camilla 
or brazier table under which was placed the pan of hot coals. Camil- 
las with rich curtains like these can be recognized in many of the 
paintings by Velasquez and his contemporaries. Each one of the 
four sides has a richly embroidered orphrey in the center: the Vir- — 
gin and Child in robes of blue and gold; a mitred bishop clothed ~ 
in amethyst; a santa with her palm of martyrdom dressed in ~ 
green and gold, and St. Jerome as cardinal, holding the paw of 
his faithful lion. These figures are pictured standing on a floor — 
simulating tiles of alternate colours. The curtains are edged with — 
gold galloon and fringe. | 


Each panel: 27 by 29 inches 3 
[See illustration | 


104 


234. 


VELVET EMBROIDERED DALMATIC XVI Century 


A handsome dalmatic of deep apricot velvet with green velvet panels 
of appliqué on the front, back and sleeves. These four panels 
claim the attention particularly; the tone of green velvet in itself 
is very beautiful, and the golden-yellow of the silk pattern effective 
by contrast. The Renaissance design is crisp in drawing with 
candelabra, dragons, and arabesques making up the theme. In 
excellent condition, and the rare apricot colour almost impossible to 
duplicate in velvet of the epoch. Length, 48 inches 


105 


220: 


237: 


2238 


Four VELVET ORPHREYS - Guadalupe, Early XVII Century 
Mounted on a panel of green velvet which once filled the back of 
an altar in the small chapel of the house, these richly embroideaia ’ 
pieces from an ecclesiastic vestment are well set off. The gold 
thread background is architectural, with columns crowned by a flam-— 
boyant cresting; above is a bit of blue sky. The figures stand on a 
tiled floor of blue and yellow units laid out in odd perspective, and — 
surrounding the figures is a lozenge pattern woven in gold. The — 
robes of the Biblical personages represented are of rich moss-green, | 
deep blue, brilliant green edged with gold, and red and gold. The — 
work is a typical product of the renowned atelier of ecclesiastic — 
embroidery established by the monks in the monastery of Gua- 
dalupe, and which flourished until the end of the seventeen ia 
century. 


vege? 4 feet by B fel IO inches am 
Orphreys: 8 by 20 inches 


RicHLy EMBROIDERED VELVET CHASUBLE ~ XVII Century — 
This red velvet chasuble has an imposing cartouche of the Dove in = 
the center of the cross. Above is a ducal crown with jewels 
simulated in coloured silk. The whole motif is worked in silver 
and is noteworthy for its high relief. The form of the cross on 
the chasuble instead of the straight pillar indicates that it came from 
one of the French orders in Spain. | ice @ 
~ Length, 42 inches — 


EMBROIDERED RED VELVET HANGING XVI Century @ 
Beautiful old hanging of worn velvet with an embroidered motif 

of angels raising the Host. In the background are featured the 
golden stars from the escutcheon of the Fonseca family, cardinals — 
of Spain for three generations. The piece undoubtedly served asa _ 
door hanging to a sacristy which would explain the worn surface — 
of the center and lower portion. The monstrance is a triumph of 
the embroiderer’s art, simulating with remarkable skill the minute 
detail of silversmithery. The angels too, despite their worn surface, _ 
are beautifully worked, particularly the modeling of the heads with 
curly hair and delicate faces. The piece is valuable because it has 
never suffered change nor restoration. A curtain very similar to. — 
this hangs at the door leading from the Constable’s Chapel in — 
Burgos Cathedral to the sacristy. 


48 by 86 inches 
[See illustration | 


106 


tT HANGING 


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No. 238. EMBROIDI 


239. PLUVIAL CAPE WITH EMBROIDERED ie eet Hoop | 


240. 


SAM 


242% 


Late AVI Centr ) 


Undoubtedly the entire cape was at one time of fed volver : 
embroidery is in full Renaissance design with candelabra and vases, 
arabesques and flowers; here and there the gold is relieved by bit Ss 
of silver and colour. The central panel, simulating the hood of 
the capa magna of antiquity, has as its central motif the sacred 
monogram surrounded by gold arabesques. 3 


é a ie" 4 a a 
Diameter, 120 inches 


Pair EMBROIDERED VELVET Sia FROM THE Reon a 

XVIT ‘Century 
Ona ced velvet ground is an <apolide of white silk in the form of 
a rinceau, outlined and corded in white. In the centre of each strip 3 
and. ata applied is a cartouche enclosing the escutcheon of the q 
royal monastery of the Escorial,—the gridiron of San Lorenzo | 
surmounted by a crown. The bands are finished at the bottom by a 
gold fringe. a 
eee: 5 feet; width: IO aaa 


s if by 


NEEDUEEOINT Dane ae isnan XVI Connath q 


In coloured silks; representing a warrior scene in an oval central | 
medallion, surrounded by a floral border. 


23 inches square F 
[See illustration ] : 


NEEDLEPOINT PANEL Itahan, XVII | Century 4 


Similar to the preceding. In coloured silks; representing the de- : 
parture of the warriors. Floral border. ; 


23 inches square — 
[See illustration ] 


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243. NEEDLEPOINT PANEL | Italian, XVII Century 
In coloured silks; representing a court lady welcoming the return of 
her lord from the war. Medallion and floral borders. 


23 inches square 
[See illustration ] 


244. NEEDLEPOINT PANEL Italian, XVII Century 
Similar to the preceding. In coloured silks; representing Samson . 


and Delilah. Floral and fruit borders. 


23 inches square 


[See illustration | 


245. COMPLETE SET OF VELVET ; 

AND SILK HANGINGS _ Early XVII Century 
These hangings, consisting of thirty alternate panels of red velvet 
and two-toned heavy Valencian silk, were transferred intact from 
the beautiful Almansa Palace near Valencia to drape the hall of the 
Almenas house in Madrid. The velvet is deep red and the silk has 
a Renaissance pattern in blue and buff. With the hangings is in- 

cluded a frieze of red quilted modern velvet hung with a deep hand- 
made fringe of red and white silk to match that which finishes the 
bottom of the panels. The whole scheme presents the aspect of a 
typical Spanish Renaissance salon after the old families had emerged 
from the epoch of thick stone walls hung with tapestries. 
30 panels, 9 feet high by 21 inches wide 
49 yards of frieze, 24 inches deep 
67 yards of fringe 


III 


WO 0.D,, CARVINGS 


246. Patr PaiNnTED Woop LIoNns Late XIV Century 


248. 


These two unusual Gothic pieces are represented rampant gardant, 
confronting each other as if they had originally supported an 
escutcheon. Amusingly ferocious, with long teeth, projecting tongues, 
and enormous rolling eyes sharply painted. In both animals the 
mane is minutely carved, each strand of hair terminating in a nice 
curl. ‘They are painted an ochre colour in the body with the eyes 
in black and white and the tongues red. Well preserved. 

Length, 15 inches 


LitTLE Boxwoop CARVING, THE BASE OF A CRUCIFIX 
| | ey XVII Century 
A delicate minute carving touched with gold, and representing the 
base of a Calvary scene; the Crucifix which surmounted the com- 
position has been lost. To exaggerate the horror of the event the 
shrub-grown hill of Calvary is strewn with skulls and bones on which 
jackals, serpents and toads are feeding. Four Roman horsemen on 
exquisitely carved steeds with gilded trappings ride around the base 
of the Cross; to the left stands the Virgin, a very classic figure, and 
to the right St. John. Except for the missing Cross which had been 
carved out of a separate piece of wood, the sculpture has suffered 
no break, except the fingers of the Virgin. 
Width of base, 7 inches 


WooDEN STATUE OF THE VIRGIN, SEATED XV Century 
The Virgin offering the breast to the Divine Child is known in 
Spain as La Virgen de la Leche [milk] and is the object of special 
prayers from expectant mothers. In the present piece the Virgin 
faces front and her ample garments make a_ beautiful pyramidal 
composition. Her undertunic was once richly gilded and her mantle 
treated in dark blue over gold, but very little of this decoration 
remains; on the other hand the carving is intact, not even a finger 
broken of either figure. The statue is cut from a pine block about 
six inches thick, and is left flat and unfinished at the back. It is 
known to have come from a retable in Pamplona. In every way 
it is a graceful and charming work. It is mounted on a base of 
sixteenth century red velvet. 


Height, 15%4 inches 
[See illustration ] 


II2 


No. 248. WoopEN STATUE OF THE VIRGIN, SEATED 


249. 


2S O: 


CARVED AND GILDED FRAME Late XVI Century 
Handsome portrait frame, carved and gilded, and with background 
worked in polychrome estofado. The wood section is eight inches 
wide with a carved leaf mould on its inner and outer edges; between 
the two is a band of gold oak-leaf patterning treated in estofado— 
the art of etching on a gold and painted ground. At the four corners 
are boldly carved and gilded rosettes and midway between them 
flat cartouches with centers of red and gold. [Unrestored and in 
perfect preservation. | 

Height, 4 feet 2 inches; width, 3 feet 2 inches 


CARVED AND GILDED Woop STATUE ALIV Century 


Vierge Ouvrant—This sort of statuette is known in Spain as an 
Imagen Abriente. Statuette and base are in one piece; the front 
half is hinged and swings back in two little shutters to reveal fifteen 
minute scenes of the Passion of our Saviour. ‘These scenes are 
distributed in four square compositions under round arches in each 
shutter, and six square scenes [one missing] in the body, where, in 
addition, there is one horizontal composition, ““[The Last Supper”’. 
The carving is at an almost microscopic scale and the little reliefs, 
gilded, are set against a lustrous, green ground pasted with frag- 
ments of peacock feather. Closed we have a figure with dark hair 
falling like a cape over the shoulders, clothed in a gold mantle with 
surface finely crackled. Around the neck is a simulated white linen 
yoke with thin blue stripes. ‘The hands are missing. Very few of 
these triptych-Virgins are known in Spain beyond the famous ivory 
one which till recently existed in the Convent of Allariz. 


Height, 10% inches 


[See illustration | 


114 


ED Woop STATUE 


No. 250. CARVED AND GILD 


‘ 


a NR hy Webs 


21s 


252. 


2083 


STATUE, OF THE VIRGIN, IN NATURAL WALNUT XV Century 


This carving has a most beautiful line, the body taking the graceful 
lateral curve of the Gothic ivory statues. A long mantle from head 
to ground is draped in a graceful curve from the left shoulder to 
the right hip where it is gathered into the hand, which at the same 
time clasps a closed book. The figure has a charming head poised 
on a slender neck; the bosom is flat, almost childish; the coming 
maternity is indicated. There is no carved ornament except a simple 
embroidered neck band around the tunic. [he piece has never 
suffered deterioration of any sort, and has a wonderful patine. 
Height, 11 inches 


GoTHic STATUE OF THE VIRGIN AND CHILD, 

Woop POLYCHROME AV Century 
This important piece of early Gothic sculpture stands on its original 
base, whose surface is covered with modeled stucco in small floral 
pattern, gilded. The Virgin is a very queenly figure seated in the 
stiff Byzantine manner with the Child on her left knee. Her right 
hand rests on His shoulder while the left holds a gilded socket into 
which once fitted, probably, a lily cut from leather. The Virgin’s 
crown is gilded and at each side of her face are traces of gold hair 
appearing under a pale blue veil which falls in regular pleats from 
under her crown. Blue also is her mantle dotted with gold stars 
and hatched horizontally with gold. Under it is a white gown with 
an allover scroll pattern in faded rose, a bit of it escaping at the 
feet from under the blue. The Infant Christ, holding a book in 
the left hand and the right raised in benediction, is draped in the 
same sort of white but with different patterning. Both mantles are 
held from shoulder to shoulder by a heavy moulded cord. The 
faces are very carefully painted, both with large black eyes, and the 
whole flesh tone is uniformly darkened. ‘That the statue was ordered 
by a cardinal is indicated by the escutcheons on the base. 

Height, 4 feet 
GILDED AND PAINTED CHERRYWOOD STATUE XVI Century 


FEMALE FIGURE READING. The woman represented being young, 
beautiful, and with a book, is probably Saint Catherine, patroness 
of students. She is seated on a gilded bench on the face of which, 
each side of where her skirt falls, there is a little nude painted in 
outline. An interesting detail of the costume is the cap or net which 
catches up the hair at the nape of the neck and is caught at the ears 
by a gilded cluster. The dress is gold strewn with dark green stars, 

[ Continued | 


116 


i 


254. 


EE 


Concluded 


its bodice cut square and showing a white and gold chemisette. A 
red ribbon around the neck suspends a Greek cross. Long sleeves 
end in a narrow frill at the wrist and are slashed from the elbow 
down to show a white puff. The mantle is very full falling from 
the left shoulder to the ground and is decorated with a large scroll 
pattern etched with gold. The piece is very graceful and the poly- 
chrome and gilt are in remarkably fine condition. The statue stands 
on a semi-hexagonal base carved with a cherub head in front and 
swags at each side. The relief is gilded and the ground dark blue. 
At the back the piece is flat and unfinished showing that it probably 
was intended for the niche of a retable. 

Height, 3 feet; height of base, 6 inches 
STATUE OF SANTIAGO IN Woop XV Century 


An elegant slim-waisted Santiago Matamoros brandishing his sword 
and mounted on a rearing horse with close-clipped mane. He is in 
armour with helmet and gorget. races of gold remain on the 
armour and on the trappings of his steed. The latter was originally 
painted the traditional white, but at a later date some one possessed 
of a desire to clean up the piece had the horse painted brown. 
Height, 3 feet 9 inches 


STATUETTE OF THE VIRGIN Flemish, XV Century 


Small Flemish wooden images, mostly always of the Virgin, flat and 
uncarved at the back and hence popularly called by the Spaniards 
chuletas (cutlets or chops), appear to have been in great demand 
in the fifteenth century; they were probably used more on private 
altars than for filling the niches of large retablos. Some bear the 
impress of Antwerp, the same open hand that is seen on that city’s 
escutcheon; but even those without the hand are easily recognizable 
as Flemish art. The Almenas collection contains three examples, 
one of them of very special interest. A standing figure of the 
Virgin with an open book in the left hand, while the right forearm 
which supported the Child is missing. ‘he head is the usual Dutch 
type of broad face, and high bare forehead. Loose curly hair falls 
in a cape over the shoulders and a kerchief is rolled crown-like 
around the head. A square cut gilded bodice shows a white 
chemisette; and a long mantle, blue lined and once gilded, falls in 
beautiful folds to the ground. It has a stippled border with faint 
traces of lettering. On the pages of the open missal is simulated 
lettering in black and red. The Antwerp hand can be seen on the 
back. Height, 14 inches 


117 


256. POLYCHROME WOODEN STATUE OF 


257: 


ST. MicHaAEL [San Miguel | Navarrese, XVI Century 


A spirited composition of the saint as a Roman warrior towering 
above the prostrate form of the devil whose left arm entwines his 
leg in an effort to overthrow him. The flesh tones of the head are 
fresh and the armour and sandals retain their heavy gold. Thrown 
back from the shoulders is a full cape with black lining and gold 
outside, except at the back which was meant to be placed against the 
wall. This statue no doubt filled the principal niche of a small altar. 
Owing perhaps to French influence, San Miguel was most popular 
in Navarre where the Dukes of Champagne reigned as kings. Many 
Navarrese churches are dedicated to him and his image is found 
over the portals as well as on the altars. 


25% inches high ~ 


STONE STATUE OF THE BAPTIST, ON STONE COLUMN 

XV Century 
A standing figure with graceful movement to the body, the saint 
holding his book of the gospels in the left hand, and seated on it, 
his attribute, the lamb. For clothing, only the usual mantle of skins 
girded in at the waist and leaving the right leg bare. The face has 
suffered the loss of part of the nose. The column has a grey marble 
shaft four inches in diameter surmounted by a simple stone cap 
of four large leaves spreading from the corners and enfolding the 
bell form. The base appears to have been a capital; it is interesting 
in that the round of the necking passes into an octagon of leaves 
which in turn passes into the square of the abacus. 


Height of statue, 3 feet 2 inches 
Height of column, 4 feet 4 inches 


118 


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258. PRAYING FiGURE oF A DoNor, GoTHIC GILDED CANOPY 


AV Century 


This portrait figure formed part of a retable, the donor being an 
ecclesiastic. The central figure towards which he looks was un- 
doubtedly the Virgin and the figure corresponding to him at her 
right side was probably the prelate’s patron saint. “The donor has 
an interesting well-fed face, hardly ascetic; he kneels, hands clasped 
in prayer, before a little prie-Dieu on which rests an open book of 
the Gospels. His black hair is almost hidden under a black liturgical 
cap; a white alb shows under the gold dalmatic and there is a bit 
of estofado pattern on the stole. he little canopy has good Gothic 
tracery and is backed by red cut velvet. Height of statue, 14 inches 

Height of canopy, 30 inches 


119 


259. PoLycHROMED Woop EQuESTRIAN GrouP, ST. MarrTIN 
AND THE BEGGAR XV Century 
There being great devotion to St. Martin in Spain, the wood carvers 
were often called upon to depict his benevolent act at the gates of 
Amiens. In France and Italy, Saint Martin later is generally 
represented in his episcopal vestments, but in Spain it was the human 
incident in his life as a Roman tribune that appealed to the artists. 
He first began to appear in the art of the Peninsula about the open- 
ing of the twelfth century, his image filling the tympanum of many 
Romanesque churches.. A specially interesting St. Martin may still 
be seen in situ on the portal of his church just off the Plaza Mayor 
of Salamanca. A group very expressive in its Gothic simplicity, the 
soldier all compassion, the beggar expectant with forward thrusts 
of well modeled neck and head. No picturesque detail has been 
omitted—the beggar’s crutch and stump leg, the horse’s fine trap- 
pings, the captain’s ample raiment and the jeweled button on the 
upturned brim of his hat,—every element of contrast is there. 
Nearly all gold and polychrome have disappeared from the sculp- 
ture. he group is framed in a particularly fine Gothic canopy with 
hood of triple arches, elaborately carved, gilded, and aces with 
blue, with simulated vaulting behind. 
Height of group, 3 feet 
Height of canopy, 4 feet 2 inches 


[See illustration | 


“4 


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i 
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. 
t 


No. 259. PotycuRoMeD Woop EQuesTRIAN GROUP 


260. SANTIAGO MATAMOROS AVI Century 


True to the legend that Santiago, mounted, used to appear on the 
battlefield and lead the Christian hosts against the Moors, he is here 

shown on his prancing cream-white steed, sword upraised, and in 

full armour. The white horse has jet black tail and mane and his 
trappings are in bright gold with a pricked pattern of circles. The 
saddle seat has a high gilded guard, front and back, and is painted 
to simulate leather, while in the Saint’s armour a remarkably fine 
bronze tone has been obtained. The armour has been minutely 
studied in every detail—gilded knee and elbow guards, gilded 7 
guantlets, and painted on the corselet, the crimson sword of the 3 
Order of Santiago. The Saint is shown as a slim young man with 

full black beard and flowing hair, and is equipped elegantly in the 

best knightly fashion of the day. On the brim of his hat appears 

a cockle-shell, such as those who made the pilgrimage to his tomb 

in far off Galicia used to bring back from the shores of the Atlantic. 

From the left shoulder his red cape [capa] flows loose to the wind. 
Horse and rider are set against a background of high hills topped 

by a mediaeval castle and a walled town, all painted and gilded. 

Of the various manners of representing the Patron Saint of Spain, 

either as an Apostle, as a Pilgrim, or as a Warrior leading the 
Christians against the Mohammedans, this last—Santiago the | 
Moor-slayer—was the favourite with the Spanish populace. Besides — 

the glorious Cathedral of Santiago de Compostela in Galicia where 

the bones are supposed to lie, there is hardly a town in the province 
but has a church dedicated to him, and his image as the Matamoros J 
is sure to surmount the portal. In this sculptured group there is a 
pronounced resemblance to Benito Martorell’s painting “St. George 
overcoming Satan” that was recently in the Ferrer y Soller collec- 
tion in Barcelona [dating from about 1450]. ‘The spirited white 
horse and the distant walled town figure in both compositions. To 
understand the importance in Spanish art one should read Way of 
St. James, by Georgiana King. 

The canopy surrounding the group is a beautiful fifteenth 
century piece of retable making. The central portion is composed 
of a trefoil arch crowned with crocketing and backed by delicate 
tracery. The reveals at the sides are set at an angle and are like- 
wise filled with tracery. The base is moulded top and bottom with 

[Continued] 


Se ee ee ee ee ee a 


. 


122 


No. 260. Continued 


gilded perforations against a dark field. ‘The carved and gilded 
canopies alone in the Almenas collection are worthy of attention for 
they have completely disappeared from the market. 

Height of group, 2 feet 

Height of canopy, 3 feet 5 inches 


[See illustration ] 


(23 


26 1 


CARVED Woop STATUE OF 
ST. I[LDEFONSO Husillos, XV Century 
San Ildefonso was the famous Visigothic Bishop of Toledo in the 
sixth century. Many churches in Spain are dedicated to him and no 
less than thirteen of its kings have been named after him (Alfonso). 
This statue was the central piece of the reredos of the church of 
San Oldefonso, Husillos, and passed directly from that place into 
the Almenas collection. We see the Bishop with all his attributes of 
offiice,—mitre, crozier, and episcopal glove, all once gilded and 
painted. ‘he alb falls to the ground showing the tip of the left — 
sandal; it has lost its gold except for a narrow band down the front 
bordered by a small blue floral pattern. The dalmatic, which retains 
its thick gold, is of the early type, circular with a hole for the head. 
Down the front is a broad band which opens into the form of a 
cross on the breast, carved to imitate rich jewels and with touches 
of blue paint. The head is exceptionally beautiful and spiritual and 
is in an excellent state of preservation; indeed, it has suffered noth- 
ing more than the inevitable darkening due to centuries. Thrust 
slightly forward, the face is endowed with an expression of great 
benignity; yet the artist who was able to impart this was such a 
realist that he painted the lower face purplish to show where the 
beard had been shaven! ‘There is particularly fine modeling in the 
chin. Altogether a beautiful and important Gothic piece. It stands 
on a three-sided Gothic base with traces of grey floral ornament on a 
black ground. On the front panel is the Santa Faz, or Sacred Face, 
in fair condition. 
Height, 5 feet 4 inches; base, 1 foot 5 inches 


[See illustration | 


124 


EFONSO 


ILD 


STATUE OF ST. 


cel ae e 


No 


262. 


DOR 


20153 


EUR Nets see 


SMALL CoOFFER OF TOOLED LEATHER XVII Century 
The entire box is covered with light-coloured leather tooled and 
and gilded in the same patterns that featured the book bindings of 
the day. Though most delicate, the leather is perfectly preserved. 
Length, 8 inches 


SMALL GotTHic Woop COFFRET, CARVED AND GILDED 
AV Century 


A well-worn box in the form of a diminutive trunk, with the base 


silhouetted so as to form corner supports. On the bow-shaped top 


is a carved linen panel and on the three principal sides a band of 
Gothic tracery. ‘The lid lacks its hinges and lock, otherwise the piece 
is well preserved. 

Height, 9 inches; length, 10 inches 


SMALL CABINET WITH CHECKER BOARD Top 
End of the XV Century 


Small floor cabinets and boxes around which persons gathered seated 
on rugs and cushions were popular in Spain long after the expulsion 
of the Moors. By the sixteenth century however their place was 
taken by pieces of more European aspect, some of them derived like 
the cabinet in question from the early Moorish box. It has a drop- 
lid front which discloses three little drawers in the inside. Their 
face as well as the exterior of the box is scored with floral designs 
in the manner of pyrography, an Oriental method of decoration 
popular in the fifteenth century in Spain. Likewise typical is the 
Gothic pattern of the base-board. [The drop-lid is restored, other- 
wise the piece is intact. | 

Height, 1 foot 8 inches; length, 2 feet; width, 1 foot 


Pairk WrouGuT [RON TORCHERES Late XVIII Century 


The traditional form of the earlier Spanish iron candelabra is here 
concealed by the foliated leaf work which adorns the base, shaft, 
and crown. ‘These details indicate the epoch. Forming part of the 
torcheres is a pair of very fine blue and white embroidered shades 
with the band of typical zoomorphic curiosities in the center and 
edged with geometric patternings. [he embroidered shades are a 
century older than the torchéres. 

Height, 4 feet 3 inches 


126 


— EE 


266. FINE [RON Gotuic BOLT AND LoOcK wWITH 


267. 


ORIGINAL KEY : XV Century 
A remarkably fine piece of wrought ironwork, formerly on the linen- 
fold door of the Almenas hall. The bolt takes the form of an 
elongated dog, the emblem of fidelity. The same type of lock can 
be seen on the lofty church grilles [rejas] of Spain, or, unorna- 
mented, in all the country districts, but with the modern modifica- 
tion of a padlock instead of the Gothic box lock. 


Length, 16 inches 


IRON TABLE LAMP WITH ILLUMINATED 
PARCHMENT SHADE XIV-XV Century 


A Catalan pricket candlestick arranged as an electric lamp. An 
etched shaft opens out on to a broad drip pan which has an upturned 
scalloped edge and is mounted on a low tripod. ‘This much is a 
typical Catalan object of the fourteenth century. In the lamp shade 
which accompanies it we have a fine piece of fifteenth century illu- 
mination. Apparently it is the entire top border of a large choral 
book made specially for Ferdinand and Isabella, ‘“The Catholic 
Sovereigns”. A beautifully executed escutcheon shows the lions of 
Leon and the castles of Castile quartered with the bars of Aragon, 
Ferdinand’s realm. ‘The shield is embraced by the single-headed 
eagle of Saint John which Queen Isabella adopted as her emblem; 
while among the grotesques and rinceaux appear the arrows of 
Ferdinand. ‘To one side is an exquisite little miniature only two by 
two and a half inches, of Saint Martin. The saint has a gold halo 
and is dividing a brilliant red and gold cloak with the beggar. ‘This 
complete little picture is framed with a floral border. Silk and gold 
fringe and a galloon of old lace complete the shade. 


Height, 20 inches 


127 


268. 


MUDEJAR COFFRET XIV Century 


The term Mudejar means work done by Moorish or Jewish artizans 
for the Christian Spaniards. In the present instance we have the 
front of a box decorated by a thoroughly Oriental téchnique which 
can be seen on much of the furniture exhibited in the Coptic Museum 
at Cairo. It consists in cutting back the ground so as to leave the 
design in eighth-inch relief, next stippling it, and lastly rubbing down 
the edges to a certain roundness. ‘The design is no less eastern: 
animals confronting each other and placed within tangent arabesques 
of oval form, while across the base is a series of arches with horse- 
shoe lobe. The top edge of the box on which the lid rests, has in- 
cised patterning, while a little lower down on the inside is a band of 
scoring and dogtooth. An incised border runs around the top of 
the lid, blackened through age and oiling. Crudely applied staples 
act as hinges, and the original lock is missing. ‘This example is 
admirable for the small scale of the ornament and for its fine 
patine. 

19%% inches by g inches 


[See illustration ] 


128 


269. 


270. 


27%. 


272. 


ParR WALNUT Grip STOOLS XVI Century 
An interesting pair of so-called tavern stools with bracing irons. 
These were used as diminutive tables as well as stools, and for the 
greater convenience of the sitter in picking up and moving about, 
had an S-shaped perforation in the top nicely shaped to the hand. 
Legs and stretchers, instead of being turned, are cut to a patterned 
profile much in vogue in the late sixteenth and early seventeenth 
centuries. For greater stability the head-piece is let into the stool 
top quite in the manner of large tables. The irons are wrought 
in the form of-delicate balusters. 

Height, 15 inches; top, 14 by 19 inches 


RADIATOR SCREEN 


Composed of a small fifteenth century iron grille in the center and 
Gothic traceried panels at the sides. The wood is still heavily gilded 
and the iron shows traces of having been so. ‘The grille has alter- 
nate plain and twisted bars and pierced transverse band, and its 
handsome lock and key are complete. With the screen is included 
the top or shelf covered with old red velvet. 

Height, 2 feet 9 inches 


Paik GLAZED Heavy Metar LANTERNS XVII Century 


In contrast to the light tin lanterns of Andalusia these Castilian 
faroles are solidly constructed and of ambitious architectural design. 
The central dominating portion is in the form of a tempietto with 
coupled columns at the four corners crowned by a complete entabla- 
ture. In each of the four sides is a round-arched opening filled with 
glass. Superimposed on this central portion is a smaller four-sided 
lantern, equally architectonic, and crowned by a perforated dome. 
The bottom terminates in the usual inverted pyramidal form, partly 
glazed to permit of the light shining downward. From the extrem- 
ity hangs a gold tassel. [Good condition and unrestored. | 

Height, 2 feet 9 inches 


WroucnutT IRON TORCHERE Late XV Century 
A good example of late Catalan Gothic ironwork. The simple base 
of the preceding century as seen in No. 274 is here developed into 
a trefoil form, while the top has blossomed out from the severe 
drip-pan of earlier days to an elaborate cresting enlivened by scal- 
loped edges, conventionalized lilies, and thin twisted tendrils. 
Height, 4 feet 6 inches 


129 


ag ha 


274. 


NGS 


Iron TABLE LAMP WITH SHADE 


The base of polished iron takes the form of a small brazier. The 


shaft rising from it is adorned with bracket-like scrolls which are 
pinched to it by an iron collar, work of the seventeenth century. A 
handsome shade has been made for the lamp from the sheet of an 
illuminated missal, along with eight beautiful initial letters from a 
choir book, all of rich colouring, and gold profusely used. The com- 
plete sheet is a painting of The Last Supper framed in a blue vesica. 
The style of the letters resembles the Burgos school of the sixteenth 
century. Height with shade, 3 feet 

Size of sheet, 11 by 834 inches 


CATALAN IRON TORCHERE Late XIV Century 


A simple but very choice piece of Catalan wrought iron. The tripod 
_ base and scantily featured shaft opening into a lily are typical of 


the best period of Catalan work. Similar detail may be seen in the 
cresting of the chapel grilles in the cloister of the Cathedral of 
Barcelona, constructed between 1388 and 1448. | 

Height, 4 feet 8 inches 


Parr UPHOLSTERED MAjyoRCAN WALL BENCHES 
AVIT Century 
Though especially typical of the Island of Majorca these wall “ban- 
quets”’ were used throughout the Peninsula during the 17th and 18th 
centuries; a salon might possess as many as twenty or thirty of them. 
The pair under consideration have walnut frames with turned legs 
and center stretcher and are covered with green Valencian damask 
held in place by brass-headed tacks. Good condition. 
Height, 18 inches; top, 17 by 27 inches 


SMALL ELABORATELY CARVED TABLE XVI Century 
Small tables as early and as beautiful as this are rare. [he supports 
take the form of a double scroll terminating in vigorously carved 
winged heads above and in masques below. Between the two is a 
turned and carved stretcher. While of Spanish make, this piece 
shows the Flemish influence that marked much Spanish art after 
Spain and the Netherlands had been drawn into close relations 
through commerce and royal inter-marriages. Carlos Quinto, 
founder of the Hapsburg dynasty, coming from his native 
Ghent to rule Spain, brought Flemish costumes, tapestries, laces, 
furniture, etc. 


Height, 21 inches; top, 19 by 28 inches 


130 


2777. 


278. 


279. 


SMALL WALNUT CABINET, Ivory AND SILVER INLAID 

AVI Century 
The Moors of Spain like all Orientals were very fond of diminutive 
boxes or coffrets, and in their making great skill was displayed. The 
Spaniards inherited this liking and innumerable boxes of great 
variety and beauty continued to be produced. In Barcelona, in fact, 
there exists the private collection of Don Olegario Junyent, exclu- 
sively of boxes, some of them priceless pieces of art, and the number 
running into a thousand. The present example could be termed 
Mudejar since the inlay shows intricate geometric combinations 
along with Renaissance ornament. ‘The technique of the inlay is 
thoroughly Oriental, minutely executed in both ivory and silver, 
while the little pendant drawer-pulls and an escutcheon plate are of 
silver. The box follows the traditional Hispano-Moresque shape, 


the front hinged downward and the inside fitted with little drawers 


around a central compartment with a locked door. 
15 by 10 by Io inches 


RADIATOR SCREEN OF [RON Nari Heaps XVI Century 


A practical radiator screen has been composed of sixteenth century 
nail heads from a portal. It will be recalled how fond the Moors 
were of studding their doors with these iron bosses, a practice long 
adhered to by the Spaniards. These nails consist of a huge square 
quatrefoil, the actual nail separate and driven through the center. 
In the center of the screen is a portrait medallion of Hernando de 
Arenas of Cuenca, one of the great ironsmiths or rejeros of the 
sixteenth century. 

Height, 2 feet 10 inches; width, 2 feet 8 inches; depth, 12 inches 


FoLtpING [RON LECTERN FROM THE ESCORIAL XVI Century 


A lectern or atril of graceful form, opening on the scissors system 
to an inclined plane of fifteen by twenty-one inches to receive the 
book. This, the book-rest proper, is still covered by the original 
leather stitched with heavy linen thread.’ Over the leather is laid 
a pad of red cut velvet lined with damask and finished with gold 
cords and tassels. Both front and back of the lectern bear an in- 
scription in large raised letters, once gilded, against a red ground 
On the front we have SCTE LAURENTI, the saint to whom Philip II 
dedicated the Monastery of the Escorial, and on the back we have 
the name of SCTE IOHANNES, whose book of the Gospel was intended 


to be read from the desk. 
Height, 5 feet 


131 


280. 


WaLNvut CHEst or DRAWERS XVII Century 
This nicely proportioned piece, with two deep upper drawers and a 
single commodious lower one, 1s suitable for either a dining or bed 
room. Upper drawers are carved with flat four-lobed rosettes, 
lower with round rosettes. ‘The structural members are decorated 
with a geometric pattern in low relief. At the bottom is a carved 
apron. Contrary to the usual practise, the side panels are also 
carved. ‘The piece is unrestored and conspicuous for its beautiful 
patine. 

Height, 2 feet 9 inches; length, 3 feet 9 inches; depth, 1 foot 10 inches 


[See illustration | 


132 


eS ee 


ed Gs". 


281. 


fe 


; 
3 
H 
t 
y 
*T 


SMALL ARAGONESE WALNUT CABINET AND TABLE 
XVI Century 


The furniture makers of Aragon were fond of decorating by means 
of silhouetted and perforated applications in a contrasting wood. 
These went either directly on the furniture or were backed by silk 
or velvet. The beautiful example in question was a lady’s trinket 
box. The interior [restored] of many little drawers, is made more 
accessible by double doors instead of the usual drop-lid. ‘These 
doors, also the ends of the box, are adorned with hooded heads of 
warriors in boxwood backed by red silk. Similar portrait busts can 
be seen in the patios of old Zaragoza palaces. ‘The top lifts up to 
be thrown back against the wall and shows a shallow compartment 
below. he cabinet rests on a small table with bracing irons of 
later period. These Aragonese small cabinets are considered rare 
and important in Spain. 

Height, 13 inches; width, 24 inches 


[See illustration | 


433 


282. 


GoTHIC CHEST Catalan, Late XV Century 
The Catalan domestic chest of the fifteenth and early sixteenth cen- 
turies is one of the most characteristic pieces of furniture of the old 
Mediterranean Kingdom. ‘The present example is thoroughly typ- 
ical; of walnut with well moulded base, square panels marking the 
front and sides, and a rich traceried panel adorning the center. It 
is on this last mentioned that the artizan directed most of his atten- 
tion. The lower half is arranged in stately panels of perpendicular 
tracery, the upper in flamboyant quatrefoils. This central motif as 
well as the square panels at the sides show traces of having been 
originally decorated in gold and colour. The chest is well preserved 
and has never been restored. 


Height, 2 feet; length, 4 feet; depth, 1 foot 9 inches 
[See illustration | 


134 


283. 


GoTHic CHEST WITH LINENFOLD PANELS Late XV Century 


In contrast to the generality of Spanish furniture this piece is of 
oak, indicating the north of Spain as its provenience. ‘The face of 
the chest is set out in five panels of linenfold pattern, low in relief 
and of good period. Occupying the upper half of the central panel 
is the original lock-plate fastened with plain fixing-staples. At the 
bottom is a heavy moulded baseboard cut to a Gothic profile in the 
center. Ihe ends of the chest are plain. Inside, along the left, is 
a small compartment where the smaller items of the wardrobe were 
guarded. In an excellent state of preservation. 


Height, 2 feet 4 inches; length, 4 feet 5 inches; width, 1 foot 9 inches 


[See illustration ] 


135 


oR 


2015. 


286. 


CABINET F ORMED OF CARVED COLONNETTES AND 
MINIATURE GRILLE | XVI Century 


An open cabinet formed of the following antique pieces of value: 

a pair of colonnettes with richly carved lower portion, fluted shafts, 
and delicate Corinthian capitals; a pair of smaller colonnettes, full 
Corinthian in style with fluted shafts; and between the columns a 
band of painted and gilded carving with separate little polychrome 
panels at the ends. In the center of the upper stage is a charmingly 
wrought iron orille, at minute scale, the little balusters with roses 
and thorns between being a particularly nice bit of Spanish ironwork. 
The grille is topped by a ducal crown. ‘To the left and right of 
the grille are niches lined with old velvet, and covering the lower 
shelves a curtain of embroidered green velvet edged with deep gold 


fringe. 
Total height, 4 feet 4 inches 


SMALL CARVED WALNUT TABLE XVI Century 


A conveniently small table with turned legs, carved apron and carved 
drawer-face; in addition, an innovation in the shape of four end 
brackets under the projecting top. The best of the carving is on 
the apron face, where the two figures supporting the cockle shell of 
Santiago are in the Berruguete manner. Similar figures adorn the 
brackets. Both for the quality of the carving and the unusual form, 
this little table is an important sixteenth century example. 

Top, 3 feet 4 inches by 22 inches 


Parr ARMCHAIRS COVERED WITH 
HispANO-MoreESQUE FABRIC XVII Century 


The comfortable frames are of walnut with long drooping arms, 
turned legs, and twisted stretchers. This type of chair was in con- 
siderable vogue in Spain during the seventeenth century and was 
known as a sillon inglés, though in reality it is quite as Continental 
as English. The covering fabric is more essentially Spanish and is 
a beautiful adaptation of the old Persian motif of reversed peacocks 
beside an urn of flowers. ‘The background is a golden-green on 
which the pattern is woven in heavy brocatelle weave. Chairs in 
good condition. 

Height, 3 feet 6 inches 


136 


287. 


288. 


OcTAGONAL WALNUT SEWING STAND XVI Century 


This unique little piece of furniture stands on a base of sixteenth 
century red velvet. Its sides are paneled and moulded and retain 
some of their iron mountings. Three of the eight panels are hinged, 
one opening as a single door the other two forming a double open- 
ing, thus giving access to the four tiers of octagonal drawers that 
held the sewing materials. The lowest drawer is missing. The 
original iron drops remain as pulls, also the Gothic lock. Such 
boxes were brought to the patio of the Spanish house where the 
ladies congregated to sew, sitting on cushions instead of chairs. 
Provided with iron handles, it was easily lifted and carried frora 


patio to house. Height, 18 inches; diameter, 14 inches 


[See illustration ] 


PaiR WALNUT ARMCHAIRS COVERED WITH 
Rep VELVET AND EMBROIDERY XVII Century 


The covering of these chairs is specially interesting in that the em- 
broidered escutcheon proclaims the ancient order of Calatrava, and 
the gilt nails are of special form. In the wooden frames we see a 
departure from the current Spanish frailero;—the turnings, the 
carved foliated splat, the curve of the arms and the delicate finials, 
all indicate a Mediterranean influence. The chairs were probably 
made in Majorca, where Venetian and Genoese forms were well 
known to the furniture makers. Height, 3 feet 9 inches 


137 


289. Parr Heavity GILDED Mirrors XVIT Century 
An elaborate pair of Andalusian mirrors with carved and gilded 
frames. In accordance with tradition the glass area is small and 
the gilded frame large. The carving is in high relief with floral 
forms dominating. ‘The quality and thickness of the gold is remark- 
able and only explained by the quantity of the golden metal that was 
pouring into Seville at the time from the newly conquered Americas. 

Height, 2 feet 10 inches 


[See illustration | 


138 


290. 


291. 


£O2- 


of Philip IV. 


FOLDING WALNUT ARMCHAIR COVERED WITH 
Rep VELVET | XVII Century 
This is another example of the demountable Spanish chair but here, 
in addition to the two turn screws which, when released, permit the 
two sides to come together, we have hinges in the centre of the 
stretcher and seat supports, thus permitting removing the two 
screws, the whole chair to be reduced to the smallest possible com- 
pass. When open the hinged pieces are held rigid by iron clamps. 
Height, 3 feet 9 inches 


IRON FLOOR CANDELABRUM WITH 
EMBROIDERED SHADE Catalan, XV Century 


This is an important piece of Catalan Gothic ironwork composed of 
a tripod base on delicate twisted iron, a plain square shaft with 
occasional markings and a large candle-pan with richly perforated 
cresting. That portion of the cresting between horizontal bands 
is of two separate sheets pierced with the same pattern, the upper 
at larger scale so as to give a reveal of the opening when laid above 
the lower. ‘his process of superposing two and sometimes even 


_ three and four patterned pieces in this manner, was much practised 


by both Gothic and Plateresque ironworkers. The upper portion of 
this piece has been restored. The lamp shade is a fine example of 
seventeenth century needlework, blue silk on a linen background. 
In the pattern are arabesques and figures in the costume of the time 


Height, 6 feet with shade 


ParR PORTUGUESE LEATHER-COVERED. CHAIRS XVII Century 


A type of chair known in Spain as a silla portuguesa which does not 
necessarily mean, however, that the chair was made in Portugal; 
the art of tooling leather was much practiced in Seville and Cordova 
and many such chairs were produced in those towns. The frame 
is of walnut with high narrow back, turned legs with claw feet, and 
a highly featured splat. The tooling of the leather is particularly 


fine and carries the patine of centuries. 
Height, 4 feet 4 inches 


139 


293. 


OPEN Face VARGUENO WITH TRESTLE XVI Century 


Small varguenos of this type, gilded and polychrome, with trestle to 
match, are called Salmantine, i: e. from Salamanca. The cabinet 
has the customary grouping of drawers each ornamented on the face 
with spiral colonnettes of bone, painted inlay of ivory and diminutive 
panels carved and gilded. All the detail is beautifully conserved and 
unrestored. Centuries of use have brought about a soft dull tone 
to the gold and a lustrous patine to the walnut. The trestle follows 
the traditional pie de puente, or arcaded bridge, serving as a struc- 
tural brace between the vertical supports. Contrary to the usual 
practice, the trestle, as well as the cabinet, is decorated with gold 


and colour. Height, 4 feet 3 inches; width, 3 feet; depth, 13 inches 


[See illustration | 


140 


AY: 


294. 


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A ot 


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4 

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Ts et eel HGF ateae er t teed ee ded ROE ee ee ne 


RENAISSANCE SACRISTY PIECE Late XVI Century 


A fine chest of drawers built of pino encarnado (Spanish red pine). 
Arranged in three drawers, necessarily large to accommodate ec- 
clesiastical robes, and beautifully carved on the face. The excellence 
of the detail indicates that pine was a highly respected wood among 
Spanish cabinet-makers; furthermore no wood develops a more 
lustrous patine with use. The carved themes include the favourite 
amorini, dragons interwoven with foliage, and on the bottom drawer, 
leaping dolphins, an alien motif in arid Castile. Carving also occurs 
in the laurel leaf border and the strips between the drawers. In- 
teresting to note are the fine little iron pulls, pear-shaped and ter- 
minating in the cockle shell of Santiago. In the large churches 
and monasteries of Spain sacristy wardrobes were constructed of 
indefinite length, continuous along the four sides of the room; in the 
smaller churches they stood isolated as in the present example. 


Height, 4 feet; length, 5 feet; depth, 2 feet 2 inches 


[See illustration | 


I4I 


295.. PatR PoLyCHROMED CHOIR STALLS XVII Century 


Though painted and gilded, these stalls are solidly built of walnut. 
Ass seen by their form and construction they never formed part of 
a continuous silleria but stood isolated, probably for visiting dig- 
nitaries. In design the stalls are thoroughly Renaissance with 
delicately combined consoles forming the profile of the ends. The 
sides both inside and out are paneled and moulded like the seat 
back. In their applied decoration they are rather unique; the gen- 
eral background is a ‘‘marbleized”’ green with the arm-ends and 
high surfaces treated in light ochre and gold. ‘The result softened 
with time is very effective. The stalls are in good condition. 
Height, 3 feet 10 inches 


[See illustration | 


142 


296. WALNUT CUPBOARD WITH DRop-LiD FRONT XVII Century 


A unique example in one piece, combining in its lower portion the 
elements of a cupboard and in its upper those of the vargueno. The 
drop-lid is adorned only with the traditional ironwork, but the rest 
of the face is richly carved with a continuous chain pattern. The 
little doors below are nicely paneled and set off with iron drop-pulls. 
The sides of the cupboard are paneled in lozenge form and the stiles 
carved with the before-mentioned chain motif. A strictly Spanish 
note is the heavy iron grip or handle at the sides with nicely wrought 
terminations. The interior behind the drop-lid is arranged like the 
plainer varguenos, or frailcros [so called because each friar had one 
in his cell], with six large drawers carved on the face, but not other- 
wise decorated. 

Height, 4 feet 6 inches; width, 3 feet 7 inches; depth, 2 feet 


143 


297. THREE Pairs Low WaLNuT STALLS hts _ XVII Century 


These simple seats are from a Coro bajo, meaning the Lay Brothers’ — 
section of the choir in some monastery church. The nature of the 
ornamentation suggests the province of Cordova. ‘The seats are 
divided by arms of simple profile, slightly carved on the faces and 
paneled on the sides. The underside, or miserere of the hinged seat, 
takes the form of a lion’s head. | 


Height, 3 feet 7 inches; width, 4 feet 5 inches 


298. ARCHITECTONIC STATUE OF THE VIRGIN, = 
FROM SALAMANCA | _ XVI Century 
A dignified group of the Virgin and Child, framed in a typical 
Plateresque niche; the stone employed is the same fine reddish sand- 
stone as was used for the famous portal of the Salamanca Univer- 
sity. The pilasters and denticulated cornice are very Italian. In 
the top of the niche is the usual shell motif; below and forming a 
definite part of the composition is the escutcheon of a churchman— 
biretta and cords in connection with it, while behind in the moulded 
base is a Latin inscription in Gothic letters, COLEGIUM SANCTE. . . . 
The stars on the shield probably indicate the Fonseca family, power- 
ful for over a century in the church and great patrons of art during 
the Renaissance period. Salamanca in particular was favoured by 
them, the College for Irish Priests and the Ursuline Convent being 
among their foundations. ‘The negro heads on the coat of arms 
may indicate the Fonseca who was appointed Archbishop of the 
Indies, meaning the newly-discovered America. 


Height, 6 feet 6 inches; length, 8 feet 2 inches 


144 


eh 


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xe 


ae eo ee 
: 


Sn aa 


299. 


300. 


301. 


Park LINENFOLD Doors XV Century 
These doors are composed of sixteen oak panels, eight large and 


eight small, carved in the linen pattern common to all medieval 


Europe and designated in Spain as the servilleta design. With the 
doors go their ten contemporaneous fire-gilt hinges. ‘The frame is 
modern. 


Each door, 10 feet by 2 feet 8 inches 


GoTuic ALTAR AND CANOPY; PAINTED 
AND GILDED XV Century 


The lower rounded portion consists of five tracery panels separated 
by finials; this once supported a statue of the Virgin set against a 
gold stippled ground on which are painted the two donors kneeling 
on a coloured tile floor. Above is painted the scene of the Cruci- 
fixion with the Virgin and St. John beside the Cross. The work is 
of the Valencian or Southern Aragonese school. 


Height, without velvet base, 10 feet 4 inches 


THREE CARVED SETS’ OF WINDOW REVEALS 
FROM ALBATERA AVI Century 


Boldly carved in pine, these important casings consist of reveal 
panels, an outer mould of egg-and-dart, and the cornice crowning 
the window opening. Most distinctive are the central panel at each 
side of the window opening and the soffit overhead, this carved in 
striking relief with a continuous anthemion scroll and stunted can- 
delabra. The cornice is richly moulded and decorated with rosettes, 
flat dentils and leaf mould. In the Palace of Albatera, whence 
these reveals were brought some fifty years ago, they were fitted 
into a deep window recess with stone seats each side. On being 
adapted to the Almenas house they were combined with the walnut 
choir stalls, No. 295. By this arrangement a handsome window 
treatment was secured, not unlike the original sixteenth century one. 
The pine has the same transparency, due to waxing and rubbing, 
that has been commented on in the description of the frieze No. 425. 


Height, 6 feet 8 inches; width, 4 feet 6 inches 
Height, including seats, 10 feet 


145 


302. 


STONE CHIMNEY-PIECE WITH GILDED As bieanal 
AND FENDER | From Falladolid, XVI Cone 


- A pure Plateresque example of what is admitted to be one of the 


rarest architectural elements in Spain. Though winter can be 
severe, especially in Castile, the inhabitants who could afford heating 
seem to have found the portable open brasero adequate; therefore, 
this chimney-piece from a Valladolid palace was a much prized 


feature in the Almenas house. It is flanked by fluted columns whose 


lower third is richly ornamented in the manner of retable columns; 
between them and the opening are delicate pilasters with nicely 
carved panels. The dominating frieze, or entablature, shows fine - 
carving of festooned fruit and leaves, each loop enclosing an urn or 
a bird: ~ Uhe secondary frieze below has winged cherub heads. Some > 
of the best ornament is seen in the side reveals, which are treated 


as pilaster panels; the designs include heads, swags, cartouches, and 


the emblems of the Passion. The actual opening is moulded at the 
sides and terminates in a shell motif above. ‘The work is executed 
in a soft white stone, probably from the quarries nearer Burges and 


the eb re Fetes of the carving are enriched with old. © 


Height, 5 feet 3 inches; width, 5 feet 2 ache 


[See illustration | 


146 


MNEY-PIECE 


. STONE CHI 


302 


No. 


SOs 


304. 


CarveD BeaM SOFFIT WITH SUPPORTING 

CORBELS XVI Century 
An important piece of Renaissance carving in pine from the old 
Castilian town of Toro (as indicated by the Castle and bulls in the 
quarterings of the escutcheon). As it was to be seen at a consider- 
able height the soffit is carved in bold relief with the winged dragon, 
the human head, cartouches and rinceaux as the principal themes. 
Along the edge forming a border to the whole is a mould of carved 
laurel leaves, while on the face is a band of interlacings. The two 
supporting carved corbels are worthy of the master Berruguete 
and probably came from his atelier. One is a torso of a ban bending 
over a shield on which are checker quarterings; the wind-blown 
hair and tense face are characteristic touches. [he companion 
corbel is of a winged dragon, feet and body drawn up under the 
head in gargoyle posture, and the whole full of movement and 
expression. The upper portion of both corbels is moulded to a 
large scale. 


Length, 16 feet 4 inches 


GREAT HANGING LAMP COMPOSED ENTIRELY 
OF SIXTEENTH CENTURY FRAGMENTS AVI Century 


Though recomposed in modern times this is a work of art of con- 
siderable importance; both the repoussé ironwork and the em- 
broidered velvet utilized in its making date from the sixteenth cen- 
tury and are of beautiful workmanship. ‘he lamp is composed of 
two circular bands; the lower, and by far the more important, meas- 
ures forty inches in diameter and is twelve inches high; the upper, 
eighteen and ten. ‘The two bands are united by iron chains; a 
second group of chains extends to the ceiling. [he outer surface 
of the principal band is decorated with friezes of Plateresque iron- 
work, perforated and repoussé and effectively backed with red vel- 
vet. his band is featured at the chains with hammered portrait 
plaques decorated in colour and gold. On the inner side it is richly 

ae | ; [ Continued | 


148 


No. 304. Concluded 


lined with embroidered velvet with panels bearing the cockle shell 
and cross of the Order of Santiago; between the panels is beautiful- 
fully worked a Latin inscription in Gothic letters repeating the sen- 
tence: “‘Blessed be he who comes in the name of the Lord.’’ In the 
upper band, perforated iron and red silk are harmoniously employed. 
Hanging in the center of the lamp is a globe of red glass with 
twisted iron pendant below. 

Height, 7 feet 6 inches; diameter, 3 feet 4 inches 


[See illustration ] 


149 


305. 


306. 


397: 


GotTHic CrrcULAR IRON Hancine Lamp | 

The body consists of two concentric ornamental iron bands, the 
larger above. With the exception of the chains all fragments used 
in making up the lamp are Gothic of the fifteenth century. [he 
larger circle is a perforated strip edged top and bottom by a cresting, 
applied turrets forming sockets for the candles. The lower circle 
is composed of a perforated inscription of Gothic letters with a 


beaten rosette underneath. 
Height, 9 feet; diameter, 20 inches 


ELABORATELY CARVED AND GILDED 

PLATERESQUE WINDOW FRAME XVI Century 
A superb piece of woodwork similar to the window decoration in | 
stone seen on the outside of Plateresque palaces. The motif is thor- 
oughly architectonic with colonnettes at the sides crowned by an 
entablature and rising from a carved plinth; below are two brackets. 
The detail throughout is of the best period. The colonnettes are 
of baluster form in the centre, the rest of the shaft being carved 
with figures, and figures are again used in the capitals to supplant 
the volute motif. In the frieze and plinth panels there is rich carv- 
ing of charming figures at small scale and of a diminutive tempietto 
from which a dragon thrusts his head. In fact, every panel deserves 
close examination not only for the execution but for the quaint 
scenes represented. On the brackets is a mask ingeniously combined 
with the acanthus leaf. ‘The whole frame is gilded and worked in 
estofado. An important piece in perfect condition. 


Height, 6 feet 4 inches; width, 4 feet 8 inches 


EIGHT FoRGED IRON GRILLES. . | 
WITH GILDED MARGUERITES French, XVII Century 


Coming from a church in Poitiers. Composed as follows: 


4 doors: Height, 5 feet 4 inches; width, 3 feet 

3 large panels: height, 5 feet 4 inches; 5 feet 

1 small panel: height, 5 feet 4 inches; 2 feet 6 inches wide 
‘Total width, 29 feet 6 inches 


[See illustration ] 


150 


S 


ERITE 


M ARGU 


D 


~ 
I 
4 


S WITH GILD 


E 


GED IRON GRILL 


For 


No. 307. EIGHT 


a - = 


308. 


Pair Wroucut Iron Gates | XVI Century 
An authentic pair of iron reja gates from Granada. Comparing 
these in detail with the great reja of the Royal Chapel in the same 
city by the famous smith Bartolomé de Jaen [see Rejeria of the 


Spanish Renaissance, by Byne and Stapley | it will be seen that these © 


come from the same hand. At the outer extremity of each gate is 
a stout iron bar whose ends are prolonged at the top and bottom 
to form pivots for the gates to swing on. ‘This member is beauti- 
fully chiseled [when the metal was cold] with a delicate floral pat- 
tern running the entire length. ‘The six intervening bars of each 
gate are twisted and adorned with nice little moulded caps and 
bases reminiscent of Gothic work. Every alternate bar opens out 
in the center to a lozenge pattern which is embraced in a double 
trefoil of iron gripped at the top and bottom by a sheaf of leaves. 
These details are all typical of the hand of Maestro Bartolomé. 
The gates still possess their original slide bolt and hasp. In per- 
fect condition and unrestored. 


Height, 7 feet 10 inches; width of pair, 5 feet 6 inches 


[See illustration | 


152 


No. 308. Park WroucuT [Ron GATES 


oo: 


21D: 


Lone Dininc Room TABLE, LYRE-SHAPED 
LrEGcs AND [RON BRACES XVII Century 


A substantial table of walnut with top in one flawless piece two 
inches thick. Length, breadth, width, and end projections are all 
practical dimensions. The supports are proportionately heavy, 
lyre-shaped and braced with heavy stretchers. Certain details of 
the legs, also the tongue-shaped drops just under the header, are 
essentially Spanish. The bracing irons are in the form of long © 
graceful scrolls with spindled centres. As was the custom in making 
large Spanish tables, legs and top are designed to be easily taken 
apart. Perfect condition, unrestored. 

Height, 2 feet 9 inches; length, 8 feet 10 inches; width, 2 feet 

10 inches 


LARGE PLATERESQUE FRAME FOR A STATUE, 
CARVED AND GILDED AVI Century 


A magnificent Plateresque motif at large scale with a central niche 
flanked by broad pilasters. The composition is crowned by a richly 
carved frieze with a head in a medallion at each end, almost 
in the round. That to the left portrays the Empress Isabel 
and that to the right the great Emperor Charles V. Below the 
niche which fills more than the upper half of the total height there 
is a projecting polygonal shelf; the compartment under it may 
once have been fitted with doors; now it is hung with cut green 
velvet curtains. The shelf interrupts the pilasters in a curious 
way, showing that the compartment was destined for some special 
purpose and was made to measurement. ‘The sides of the niche 


‘are splayed, and their elaborately carved and gilded surface looks 


like worked metal; at the top of the recess is the conventional shell 
motif. In the beautifully carved ornament of the piece human 
and animal forms figure more than plant; that is to say, it is Spanish 
Plateresque, not Italian Renaissance, always bold and full of action, 
and might have come from the hand of the master Berruguete him- 
self. [his important piece, not being a strictly ecclesiastical fur- 
nishing, was probably destined for the oratory of some sixteenth 
century palace. 

Height, 11 feet 10 inches; width, 5 feet 8 inches 


[See illustration | 


154 


FOR A STATUE 


. 
4 
4 


TERESQUE FRAMI 


PLA 


No. 310. LARGE 


No. 312. WALNUT BED oF SPIRAL COLUMNS 


i es en fa 


_ 


ee ae ee 


BIT. 


e312, 


PLATERESQUE OPEN CABINET 


A remarkably fine piece of furniture composed of Plateresque cary- 
ing and an iron screen arranged in two tiers separated by a drawer. 
The balusters employed are of the type called in Spain a retable 
column; and the several friezes that crown them, also the drawer 
face, are richly carved with masks, winged beasts and weird figures 
that lose themselves in delicate tendrils. Particularly noteworthy 
are the end figures of the upper panel and the carving on the applied 
columns at the return to the wall. In the lower void, which masks 
a radiator, is a delicate iron screen of alternate square and twisted 
bars with Gothic moulded bases. In this piece will again be seen 
the great possibilities of pine under the touch of a master carver. 
Age and contact have enhanced this work by giving the wood a 
tone and a patine comparable to those of old ivory. 


Height, 8 feet 10 inches; width, 4 feet 10 inches; depth, 1 foot 
8 inches 


WALNvT BepD oF SPIRAL COLUMNS | 

WITH DAMASK COVERING XVI Century 
An imposing piece of the period of Philip Il. At the corners are 
huge columns, seven inches square at the base, beautifully carved 
above in spiral form and terminating in turned finials. Forming a 
headpiece is a pedimented panel with carved cartouche in the center 
featured with the single-headed eagle of the Evangelist holding a 
small shield. From this headpiece is hung a red damask curtain 
of the same colour and material as the bedspread. An interesting 
detail of the construction is the double post at the foot so arranged 
as to permit the spread to fall uninterruptedly to the floor. ‘The 
spread is of red Granada damask hung with a long red silk flounce. 
An important piece, unrestored, and in excellent condition. 


Outside length, 7 feet 5 inches; outside width, 5 feet 


[See illustration | 


[END OF SECOND SESSION] 


ee 


; 313. 


THIRD AND LAST SESSION 
Saturday January 15, 1927 at 2:15 p.m. 
Catalogue Numbers 313 to 447 Inclusive 


Four MINuTE Boxwoop RELIEFS XVI Century 


These groups are part of the same miniature series as No. 14. 
The scenes are: [he Visitation; Adoration by the Shepherds; Pres- 
entation in the Temple; and the Flight into Egypt. The Virgin 
and Saint Elizabeth of the Visitation, composed under an arcade 
upheld by fluted pilasters, are specially delicate in their rendering. 
In the Adoration, instead of the three classic arches are three 
thatched canopies, an angel hovering under the centre one; one 
shepherd has a lamb thrown over his shoulders. In the Presentation 
three arches again appear with angels under the ends and the Holy 
Dove under the centre above the Child’s head. In the Flight an 
angel can be detected in the foliage over Joseph’s head. ‘The ass’s 
tiny halter of rope is still in place. As catalogued in the Louvre and 
the British Museum, small boxwood carvings are mostly Flemish 
or German; but the fact that the Almenas family and others in 
Spain possess miniature scenes relating to Spanish history, may be 
considered to indicate that Spanish carvers also achieved the neces- 
sary dexterity of hand for carving wood with microscopic fineness. 


Each relief, 2%4 inches square 


159 


314. CaRVED Ivory PIECE XII-XIV' Century 
Probably part of a lute. <A strip of richly carved ornament com- 
posed of a grapevine, half concealing in its foliage a series of animal 
figures, among which can be seen a lion with its teeth buried in the 
flank of a doe, a wolf attacking a woolly sheep, a bird pecking at a 
bunch of grapes. ‘These motifs are clearly an inheritance from the 
Romanesque period and can be seen in the carvings of the ivory 
coffret from Santo Domingo de Silos now in the Burgos Museum, ~ 
the coffret of Pamplona Cathedral, and the famous Cross from San 
Isidoro de Le6én now in the Archaeological Museum of Madrid; this 
last inscribed with the names of the donors, FERNANDO REX, SANCIA 
REGINA [1037-1065]. But while the design of the Almenas ivory 
is equally primitive, the crispness of the carving and the naturalistic 
treatment of the leaves relate it more to the Gothic period and 
suggest that it could not have been carved before the late thirteenth 
century. [he original purpose is uncertain. While it is most likely 
that the row of perforations on the upper edge may have received 
the strings of a lute with this bar as its lower support, at the same 
time it is not impossible that we have here a piece intended to be 
corded to a saddle in the same manner as the ivory fragment in the 
Pierpont Morgan Collection in the Metropolitan Museum of New 


York. 
y 634 by 134 inches 
[See illustration | 
3 
: 
4 
314A. JEWELED PENDANT ltahan, XVI Century @& 


Rock crystal and enameled gold set with pearls, in the form of a 
quiver—a symbol of love. It is enameled both on the front and the 
back and encloses a reliquary. Very rare specimen. 


[See illustration | 


160 4 


ORY PIECE 


CARVED Iv 


Mead. 


No 


315. 


au e. 


3U7- 


CARVED ROSARY XVI Century © 
Of a light coloured wood, each bead is a remarkably carved head, ~ 
and each separating disc has on one side a relief of a coiffed nun © 
and on the other the head of the Baptist. The beads are strung on 
a green silk cord ending in a tassel. A short chaplet like this, of — 
only one, two or three decades, is known as a Camandula, after the 


Order of Camandula or Reformed Benedictines. Minutely carved ~ 


beads, or “prayer nuts,” first used as terminals to rosaries and 
later in stringing the entire piece, came into Spain from the Low ~ 
Lands with other Flemish products in the late fifteenth century. — 
Later the Spanish carvers began to make the same sort of bead, and © 


with equal skill. 
Length, 20 inches 


AvE Maria DRINKING CUP Toledo, XVII Century 


These greenish glass pocket cups with flattened sides and oval brim, — 
and with the inscription in relief, are known to have been made since 
the fifteenth century at Cadalso de los Vidrios (glass-works), in the 
province of Toledo. In the present case the Virgin’s name is spelled 
with the archaic Y instead of the more modern I. 

Height, 4 inches 


SMALL RELIEF IN Boxwocp [ FRAGMENT | XVI Century 


A very animated scene representing the hardships of the Spanish 
Conquistadores among the cannibals in the New World. In the 
distance is the caravel that brought the Europeans to the western 
Antilles, and small boats rowing a number of them to the beach; 
those already landed are being attacked by naked savages armed 
with bows and arrows. ‘The fine quality of the carving and an 


_ extraordinary knowledge of anatomy is shown in the foreground, 


where, on a sacrificial altar lies a body which the heathen priest, 
knife held between his teeth, has just slain. To the right a woman 
is roasting various human members on a long spit, while over the 
same fire a child is preparing some small choice morsel en broche, 
the broche being the unlucky Spaniard’s sword. All these nudes are 
exquisitely carved, especially the priest, his shoulder slung with bow 
and arrows. Behind him and facing away towards the missing part 
of the carved panel is a female figure, probably a queen, seated 
under a canopy. Another particularly fine figure is that of the 

[ Continued | 


162 


: 


‘a 


No. 317. Concluded 


- 


319- 


woman nearby with a child at the breast. In the middle distance 
Savages are bringing the wounded Spaniards to the sacrifice. In the 
distance, where the boats are shown, the wood is cut back to the 
thinness of paper. This fragment was undoubtedly part of a series 
of scenes illustrating the conquest of Mexico or Peru. 

4% inches square 


Dutcu Tasre CLock witn CHImes XVII Century 


A very fine example of a seventeenth century clock with works 
encased in glass, flat in form with the dial on top to be seen froin 
above. The metal structure of the clock is covered with a delicate 
ebony frame, a waved moulding in the manner of old Dutch picture 


frames. The dial face is of steel with the hands worked in silver. 


As mentioned the works are seen through the side panels of glass, 
hence exquisitely chiseled and engraved. To the underside of the 
clock are fastened the four steel bells of the chimes, held in place 
by elaborately wrought and perforated bands, gold dipped, as is all 
the exterior metalwork. This bottom plate sustaining the chimes 
swings back exposing the silver ornamented base of the works and 
the signature of the clock-maker, JOHANN BEER. The town of 
origin is also inscribed but is unfortunately partly obscured by a key 


plate. [he clock is in perfect working order. 
7 inches square 


PaiR SMALL HispANo-Moresaque MEDICINE JARS 

Valencian, XV Century 
These two jars, battered but unrestored, are undoubtedly a pair 
made and decorated by the same hand, yet such were the uncer- 
tainties of fliring, that one came out with a much more beautiful 
lustre, reflejos metalicos, than the other. The pattern is the allover 
metallic scrolls and small blue leaves, with a narrow blue horizontal 
line above the middle; around the brim and again at the base is a 
lustre band. On the finer of the two jars the decoration is very 
iridescent and the greenish white surface has a beautiful fine crackle. 
In ascribing the Hispano-Moresque pieces to Valencia, it is the 
province rather than the city that is referred to. In the fifteenth 
century many towns, the most famous being Manises, were engaged 
in the industry and it is practically impossible to distinguish their 


wares. 
Height, 714 inches 


320. SMALL MILANESE TABLE Box COVERED WITH VELVET (9a 
AV. Century 9 
An interesting little cabinet undoubtedly from the same hand as the — 


SUME. 


Roe 


more important piece, No. 327. The exterior is covered with green 


cut velvet of minute pattern fastened at the edges with little bronze 
nails of the period. Behind a let-down lid is revealed an interior 
of diminutive drawers of cedarwood faced (as well as the lid) with 


nickel engraved and gilded; in Spanish, nielado. The lid scene de- 
picts, with a rather Japanesque touch, an old walled town with a 


large tree in the foreground; on each little drawer and on the 


central compartment are vignettes of towns, ‘surrounded with 
festoons and garlands. 


Height, 8 inches; length, 9 inches; depth, 7 nee 


ENAMEL PRICKET CANDLESTICK XIV Century 


This candlestick, of gilded iron and champlevé enamel, is composed 
of six separate pieces held together by a rod passing through them 
and riveted to the base. It is this base or tripod that retains most 
of the original enamel, gilding, and incised decoration; also on the 
inside of the drip cup the enamel is intact, but on the stem, so often 
clasped by the hand, it is torn away. ‘The colours are blue, red, 


green, yellow and a few touches of white. Candlesticks of this form 


were never made in pairs. 
. Height, 9 inches 


Meta WALL CLock Late XVI Century 


The earliest examples of this kind of clock having come into Spain 
from Holland, later ones made by Spanish clock-makers continued to 
be known as Dutch clocks [relojes holandeses |. ‘This one is designed 
in the style of Herrera, Philip II’s architect who so frequently used 
the pyramidal finial. Further proof of its Spanish origin is in the 
naming of the two mighty warriors engraved on the sides—CARLOS 
and DABID [the inveterate Spanish B for V]. The weights are sus- 
pended on heavy silk cords, and the iron wall bracket is designed 
with two delicate spindles and shields. The tradition in the family 
is that this clock once hung in the royal apartments of The Escorial. 


Height, 20 inches 


164 


323. 


RECTANGULAR SEWING-BOX Late XV Century 


Lady’s carved sewing box [costurero] with iron handles at each end 
and three drawers. Each of the four sides is adorned with a jour 
quatrefoil panels. Spanish ladies, when sewing, either sat on cush- 
ions on the floor or on very low chairs, generally in the open patio 
of the house screened from the outer world. Their sewing box was 
carried by the servants and placed on the floor before them. 


14 by 18 by 9 inches 
[See illustration ] 


165 


324. Mozarasic Ivory ALFIL OR ARFIL AI Century 


A bishop in the game of chess. On each side of this rare piece is 
carved a crouching gazelle with a leafy sprig in its mouth, and on 
the taller, or front face, a man standing clad in long tunic and 
with a falcon on his wrist; above him the slanting top of the piece 
is carved with the purely Arab split leaf pattern. On the reverse or 
stepped face the upper surface is filled by a seated figure in the 
round, clad in the single tunic and with both hands resting on the 
knees, while the lower or projecting surface is filled with a rabbit. 
All faces of the chess-piece are bordered by a twist or rope pattern. 
In the style of its figures and ornament, this ivory, which is of un- 
questionable Spanish origin, shows strong Mozarab influence. The 
foliate and animal motifs such as the gazelle and rabbit, so charac- 
teristic of Islam, found their way early into all Spanish art. The 
human figure on the other hand was not combined with them as a 
rule unless the ornament was designed for Christian employers. This 
chess-piece was therefore made for a Spaniard, a prince probably 
who had learned the profound Oriental game from the invaders. 
Chess was the pastime par excellence of princes. So esteemed was 
it at the court of Alfonso the Wise [ Alfonso X of Castile and Leon | 
that he ordered his scribes and illuminators [most of them Moham- 
medans, by the way] to make him a book which would show all the 
possible moves of the game. ‘This LIBRO DE AJEDREZ, now one of 
the most prized possessions of the library of the Escorial, shows 
Alfonso el Sabio enjoying the game with various Arab princes as 
his adversaries. The few other chess-pieces of this remote epoch 
and which belong to the Louvre Museum are discussed in the monu- 
mental publication, Die Elfenbein Skulpturen, Volume IV, by Pro- 
fessor Doctor Adolf Goldschmidt of the University of Berlin. 
Height, 314 inches 
Base, 134 by 114 inches 
[See illustration | 


166 


es 


IL 


~ 
: 


LFIL OR ARI 


\ 


4 


No. 324. Mozarasic Ivory 


_ a =. = 7 


—_ r ’ ‘ ’ 
Pe a Sn Ate i < a) 7 . ri 2 ig ‘ ; 
— — See ere ek i ati tic Jess bePoseras ls rents | ea ee ae ee 


psc ee ee 


; —- rm -_ 7 anata eee 3 


325. STEEL CABINET BOUND IN LEATHER 
Milanese, XVI Century 


The interior of the cabinet is steel damascened in gold, with gilded 
bronze statuettes in the niches. It was made by an artist working 
in armor and is one of the best specimens of its kind. ‘The leather 
exterior has a design representing a landscape with castles. 


Height, 15 inches; width, 18 inches 


[See illustration ] 


168 


326. 


327: 


328. 


IMUDEJAR CHESS-BOX WITH INLAY ‘ XV Century 
A good example of fifteenth century Arab-Christian work in Spain. 
Practically the entire surface is richly inlaid with box and cedar, 
following strictly geometric patterns; about the only Christian touch 
is the base mould. The top is laid off in a chess-board from which 
it is evident that the box was set upon the floor and the players 
gathered around it on rugs or cushions. These ancient chess-boards, 
either with a box or pair of drawers below for the chess pieces, are 
not uncommon, but the ivory pieces, unfortunately, are no more 
to be found. 

Height, 11 inches; length, 26 inches; width, 14 inches 


Two CARVED PINE PANELS FROM CUENCA XVI Century 


These two panels, formed of two boards each, represent a splendid 
bit of carving in the Berruguete manner. At the base are two 
grotesques back to back and seated each on a masque. They hold 
horns of plenty, above which is a vigorous nude placed diagonally 
and filling the upper part of the panel. All the figures are seen in 
profile. What would be the lower members of the grotesques ter- 
minate in leafy stems and tendrils, making graceful decorative lines. 
One of the nude figures is very boyish, the other older and bearded; 
both appear to be darting through the air and are attacked by eagles. 
In short, these panels represent a decorative idea quickly and bril- 
liantly executed. The great sculptor Alonzo Berruguete is known 
to have worked in Cuenca, in whose cathedral his beautiful doors 
to the Sacristy may still be seen. ‘These panels, so like him in style, 
were part of an altar in one of the churches of that city. 


4 feet 9 inches by 29% inches 


PAIR GILDED [TRACERY OVERDOOR PANELS Late XV Century 
Characteristic pieces of ‘‘Catholic Sovereigns,” Gothic with inter- 
twined segments of circles forming the basis of the design. These 
panels were used as overdoors and are backed with red velvet edged 
with galloon. [Freely restored. | 

Length, 4 feet . 


170 


eae 


~ 
— 


~~ 


7 shia a +p 


ie? aay ap 


329. 


= 330. 


331. 


PAINTED FRAGMENT OF A FRIEZE Boarp 

Burgos, XIV-XV Century 
This piece containing two complete motifs is framed in a gilded 
rope mould. The scalloped arch embracing the figures is typical of 
Burgos ceiling painting. Two knights with long lances are dashing 
into the tournament; the one on a black horse is against a reddish 
ground, the other on a grey mount is against a black ground; ochre 
is the only other colour used. The space between the arches is 
filled with grotesque and leaf ornamentation laid on in red on black. 
Those who have had the good fortune to visit the renowned monas- 
tery of Santo Domingo de Silos will recognize that the piece here 
presented is contemporaneous with the remarkable ceiling still intact 
which covers the beautiful cloister. The Silos example is assigned 
to the late fourteenth century and is one of the best preserved 


- Goth examples in Spain, one side of it never even having been re- 


touched. No doubt many similar ones were made about the same 
time throughout the province, examples, or rather fragments, hav- 
ing been found as far south as Aranda de Duero. The Silos ceiling 
is illustrated and described in Decorated Wooden Ceilings in Spain, 
by Byne and Stapley. 

41 by 13 inches 


PAINTED PANEL—SAINT JOHN IN A GILT 
CoprPER TABERNACLE Italian, XVI Century 


The gilt tabernacle has moulded corners supported on fluted pil- 
asters and a plinth painted with escutcheons. The panel shows St. 
John as a child holding his cup for the water that springs from the 
side of a rock—a reference to Christ as the Fountain Head. Writ- 
ten on the back of the panel in pencil is the signature, CESARE DE 
SISTO FEC. 

Panel, 6 by 8 inches 

Tabernacle, 13 inches high 


PANEL PAINTED IN TEMPERA Aragonese, XV Century 


The shape and composition suggest that this had been the predella 
of a retable, and its subject would be explainable by the main paint- 
ing. A row of heads and back of them a greenish-blue sky and a 
few little trees on distant hills. The faces measure about one inch 
and the features are outlined in a dark umber. In the centre is a 

[ Continued | 


171 


No. 331. Concluded 


332. 


turbaned figure who appears to be counting off on his fingers those 


who pass before him; on his left apparently are those whom he has 
judged favourably and among them can be distinguished two 
crowned queens, a nun, and five male figures, one of them bare- 


headed. ‘This group is much interested in the fate of those to the — 


right, six male figures who are looking apprehensive as to their fate, 
all except the last, who swings an axe high above his head. The 
others have their hands clasped in appeal; one immediately in front 
of the judge wears an ermine collar. Most of the robes are red; 
a few blue and one yellow are also introduced. Towards the right, 
where the paint is scratched away one can see the heavy preparation 
of stucco and hair. This interesting panel is enclosed in a frame 
that was used as a shallow shelf. Of an epoch with it is the painted 
moulding of a gilded tendril enclosing quatrefoils. The little iron 
brackets at the end are a century later and the rest of the frame is 


modern. | | ee ) 
Height, 5 inches; length, 3 feet 8 inches 


PAINTED MINIATURE By El Greco [15487-1614]: 


Very few paintings at this small scale by El Greco are known—two 
in the possession of the Hispanic Society of America, painted, like 
the Almenas, on vellum, and a miniature panel in the collection of 
the painter, Don Ignacio Zuloaga. ‘The Head of Christ, both in 
breadth of treatment and in restrained colouring, resembles EI 
Greco’s larger paintings of the same subject. [he head is sur- 
rounded by a close nimbus, the hair and beard are very dark, and 
the whole is enlivened by a touch of red drapery around the shoul- 
ders. The miniature is signed on the back in Greek letters, similar 
to the signature on various large canvases, the St. Jerome as Car- 
dinal, now in New York, to mention but one instance. [he minia- 
ture and its small moulded ebony frame are set within a larger 
ebony frame adorned at each corner and in the center of each side 
by a faceted crystal mounted in bronze filigree. Signed. 


Miniature, 2 by 3 inches 


Note: The renowned authority on El Greco, Don Manuel Cossio of 
Madrid, has just added to his original work on the painter two small books 
embodying the result of his latest investigations—Lo que se sabe de la vida 
del Greco, and E! Entierro del Conde de Orgaz. In the first of these he has 
established definitively the date of the painter’s death as 1614, not 1625. 


[See illustration ] 


172 


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Votive PANEL PAINTED IN TEMPERA, AN ECCE 
Homo oN ONE SIDE, THE VIRGIN ON THE OTHER 
Valencian, XV Century 


An important Valencian primitive from the atelier of, if not by, | 
Bartolomé Bermejo. On each side the gold ground is stippled with © 
small motifs, and one of the haloes, that of the Christ, appears to 
have lettering. ‘The Savior’s face is dark in tone, the eyes black, 
each lash painted separately; the black beard is scant, and the hair 
falling to the shoulders is confined by the crown of thorns whose 
pricks have drawn blood. In the robe is the only bright colour, a 
fine crimson tone. The face is not unlike the Ecce Homo by Ber- 
mejo in the Museum of Vich. The Virgin is a specially lovely piece 
of work. The gentle face is painted with hardly an attempt at 
modeling, is framed in a white wimple over which is arranged the 
dark blue veil that falls on the shoulders, leaving only a small bit 
visible of the red robe. ‘The downcast eyes are fringed by long 


lashes. There is equal simplicity in the painting of the long fingers 


of the hands meeting in prayer. Across the bottom of the panel is 
a band of Gothic lettering of which only the first word is legible, 
REGINA. . . . This important painting is mounted on a Gothic stand- 
ard consisting of frame, shaft and base, all gilded over linen pre- 
pared with size. The base flares out and takes the moulded form of 
a metal chalice base; the shaft is filleted and moulded, and the actual 
frame to the picture has at each side a colonnette topped with a 
cusped pinnable. In the center of the top rises a rich motif of 
tracery and flamboyant cusps. Aside from the merit of this work 
and its probable author it is to be noted that it has never been re- 
touched, not even cleaned. 


Height, 3 feet 4 inches 


Note: Now that Spanish primitives are receiving attention from critics 
and collectors, Bartolomé Bermejo is being recognized as one of the fore- 
most painters of the late fifteenth century. Likewise as one of the earliest 
in the Peninsula to paint in oils, he is chiefly known in the United States as 
author of the beautiful Santa Engracia in the Gardner Collection, Boston. 
In the Prado of Madrid he is represented by the important Santo Domingo 
de Silos [painted in oils before 1471], and in the Royal Palace, Madrid, 
by the portrait of Queen Isabella the Catholic, which he painted in Barcelona 
while she waited there to receive Columbus and hear his report on -his 
discovery. Equally well known is the fine Ecce Homo in the Episcopal 
Museum of Vich. In the Almenas residence in Madrid is one of the few 
signed works of the master—an exquisite little Virgin with the Child at the 
breast—La Virgen de la Leche. 


[See illustration | 


174 


ee 


ae 


we 


Votive PaneL PAINTED IN TEMPERA 


b SSE 


No 


Two PAINTED PANELS FROM THE CHURCH OF 
SAN ILDEFONSO, HuUsILLos 

Province of Valencia, XV Century 
These two painted panels in their frames of Gothic tracery formed 
a part of the reredos of the important altar of the church dedicated 
to San Ildefonso [Alfonso] of Toledo, his effigy, No. 261, having 
been the centre of the piece. In the left panel we see the Virgin 
bestowing the heavenly chasuble upon him, according to the legend 
that, in acknowledgement of his defence of her virginity, she ap- 
peared to him in the Visigothic Cathedral of Toledo and placed a 
chasuble of heavenly tissue on his shoulders. The background sug- 
gests the altar in the present Cathedral, which is said to stand on 
the very spot of the miracle. The Virgin in celestial blue robe is 
accompanied by three angels, one of them with the crozier and the 
other with the mitre which are to be given to the Visigothic Bishop. 
The Virgin’s dress is an interesting bit of silver estofado and the 
same shows in the lining of the chasuble. The second panel repre- 
sents Ildefonso among the Doctors, arguing some point of doctrine, 
these latter seated on benches that show the Moorish trefoil open- 
ing. The Bishop is seated on his episcopal throne, dressed in vest- 
ments of rich gold estofado treatment, and his mitred head sur- 
rounded by a gold halo. The lower part of these panels has been 
scorched on the surface by the candles of the altar and has been 
retouched; all above is intact. The two are very interesting exam- 
ples of Castilian primitive painting. 


Height, without frames, 39 by 21 inches 


335¢ 


and circular lunette. The central or principal stage is dedicated to. 
_ the mitred Abbot, later canonized, who sits on his abbatial throne, 


- delicated to the Crucifixion, but those to the side are inspired by 


SMALL PAINTED RETABLE | From Calatayud, XVI Century 
An interesting example of early sixteenth century painting from a_ 
church in Calatayud [Aragon] with a gilded Plateresque frame. In 
general the composition consists of three stages crowned by a cornice _ 


crozier in hand. ‘To the left and right are panels of similar size in — 
which the Abbot is depicted as a young man. Drawing and colouring — 
are exceptionally pure and the figures further set off by a rich back- 
ground of stenciled gold. In the upper stage the central panel is” 


incidents in the Abbot’s life; to the left he is seen preaching; to the - 
right he lies on his death bed receiving the Last Sacrament. The 
panels are full of human interest and serve as documents for cos- 
tume and setting. The lower stage is in the form of a predella, — 
the central panel dedicated to Christ arisen, those to the side to 
the Virgin and St. John. To the extreme left is Santiago, patron © 
saint of Spain; to the right the Abbot in his old age. a 

Height, 6 feet 6 inches; width, 4 feet 8 inches — 


Cao 


[See illustration | 


| ee i ah 


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PAINTED RETABLE 


CR 


WOOD CARVINGS 


336. ALABASTER RELIEF By Cie Becerra, XVJe Century 


THE VIRGIN. ‘This charming relief will be at once recognized as 7 
very Italian in feeling and is fittingly presented in a Renaissance 4 
tabernacle. The Virgin turns slightly from the front, gazing down — 
with fond maternal expression on the child Jesus, held under the — 
left arm and the infant, St. John, gathered to her under the right, — 
the two embracing. In the Virgin’s right hand is a half-closed book, — 
her finger marking the page. The tabernacle is of walnut, un-— 
painted. It stands on a paneled and moulded plinth, has two a 
standing colonnettes with little Ionic columns, and a plain cornice. 
The columns are fluted above and the lower third is faceted. 


Height of carving, 1234 inches 
‘Tabernacle, 25 inches 


Note: Gaspar Becerra [born 1520] studied in Italy and for some time 
after his return to Spain worked in marble before turning to the more Spanish 
medium of polychrome wood. 


337. PoLycHROMED Woop Heap oF A GIRL XV Century 
This bust of a santa was made to hold a sacred relic, probably a 
bone of the saint represented, and the head was consequently hol- 
lowed out from behind. The hinged lid is missing, revealing the 
cavity painted blue and sprinkled with stars. “The head is of beau- 
tiful classic type with the carving of the hair following the conven- 
tion of the marble sculptors, indicating Italian influence. ‘he paint- 
ing is in fair condition. 

Height, 13 inches 


[See illustration] 


180 


No. 337. PoLtycHROMED Woop Heap oF A GIRL 


y painting 


a kl 


hands are: 


apres Ve 


wears the wu ce mantle 


Sealy 


folded kerchief. Wherever ae | 


SALLAALVLS dOOA\ 


GaWOXHOATOG OMT “gtf ‘ON 


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ag astra eRe ee cea nati oe, 


—— 


SNE 


340. 


of the head suggests the statue to be the work of one of the many — 


GoTHIC FRAME AND CARVED Boxwoop RELIEF XV Century 


Remarkable minute carving enclosed in a still more remarkable 
frame. The panel, a piedad, is exquisitely carved in boxwood. No 
detail was too small to be represented with the most consummate 
skill, as witness the clasped hands of the Virgin, the garments of 
the Marys of Gothic cut, the coif of the Mary in the lower left 
corner, the design of the halo and the distant landscape and walled — 
town. In patine the piece has all the quality of old ivory. Most 
unique as a Gothic conceit is the frame; it is composed of a simple — 
border ornamented in geometrics retaining faint traces of colour 
decoration. At the top, as if peering over a barrier, are four in- 
teresting little heads, each quite different as to visage and dress, 
that to the right obviously a monk. Here, too, traces of poly- 
chrome and gold still exist. A piece in excellent preservation. 

Height, 10 inches; width, YY inches — 


es 
_ 


[See illustration] 


PAINTED AND GILDED STATUE OF SANTA BARBARA — | a 
Burgos, XV Century 
Santa Barbara is here represented crowned and with a chalice and — 
wafer, in reference to the belief that she could save the faithful 
from sudden death, that is to say, before the last sacrament could © 
be administered. Head and hands are specially graceful. The type — 


j 
MW 
=? ‘ 
Pc 
ce 


Flemings who flocked to Burgos in the XV century in the wake of — 
Hans of Cologne [ Juan de Colonia], who was architect of the great — 
cathedral building there. The technique of the early polychromy — 
can be easily made out, the statue having been covered with linen — 
cloth applied with size, then plastered, and on it the gold or paint. — 
A fair amount of gold remains on the crown and the mantle, which — 
has a dark green lining. Included with the figure is a carved wooden ~ 
canopy of the same period, with intertwined arches and tracery and 
with side colonnettes and pinnacles, all richly gilded. 


Height of figure, 2 feet 9 inches 


184 


No. 339. GorTHic FRAME AND CaRVED Boxwoop RELIEF 


341. 


342. 


PAINTED AND GILDED BUST XVI Centur , 
‘EL PADRE ETERNO.” The usual bearded figure with long thick hair 
encircled by a gold crown, and holding the globe of the world. The 
hair is painted grey and the eyes black, their alertness increased by 
the salient upper lid. Both in the face and the thin sensitive hands 
there is close study of nature, and the expression is most benign. 4 
blue mantle, once gold-lined, is thrown back over the shoulder and 
fastened at the breast by a large cabochon brooch; the gold border 
is carved to simulate a jeweled galloon. The bust is placed on a 
base covered with old cut velvet, dark blue. 


Height, 16 inches; base, 4% acl 


POLYCHROMED WooD STATUE OF ST. CATHERINE q 

oF ALEXANDRIA XV Century 
Like Santa Barbara, Santa Catalina was a great favourite with 
Spanish painters and sculptors. She is here represented with the — 
sword typical of martyrdom and the book indicating her great learn- 
ing, by virtue of which she is the patroness of schools and colleges. 
A graceful standing figure, young, beautiful and crowned, her feet 
rest upon the body of the pagan tyrant Maximinio who persecuted © 
her and whom she defeated in argument. ‘he saint’s dress was 
originally gilded, but at some remote time the gilt was scraped and 
substituted by dark green and umber paint; her attributes of sword 
and book, however, still retain traces of gold. The hands are par- 
ticularly sensitive and beautiful. Included with the figure is a carved 
wood canopy of the same period, with side pinnacles and colon- 
nettes and a projecting hood of tracery, all richly gilded. 


Height of figure, 2 feet 8 inches; with canopy, 4 feet g inches — 


[See illustration ] 


186 


No. 342. PoLycHROMED Woop STATUE 
oF ST. CATHERINE OF ALEXANDRIA 


343? 


344. 


Two Parrs CARVED AND GILDED ANGELS — XV Century 


The four angels apparently formed part of a retable, their knees 
bent and robes flying as if just alighting from their passage through L 
the air; wings are missing. The faces are more or less the same 
blond type with gilded hair. There is a variety in the robes; one 
wears the ritual dalmatic, another a cape fastened at the breast and 
thrown back, while the other two have simple tunics caught close to 
the body by long gold ribbons that cross and re-cross. Gold was” 
profusely used in the robes and there remains besides traces of 


elaborate estofado. , | 
Height, 19 inches 


Mh 
“ts 


‘ a 


Parr PAINTED AND GILDED ALABASTER MEDALLIONS 
By Damian Forment, Early XVI Centura 


These are beautiful deep pieces of Ebro alabaster, the ground cut — 
back leaving the heads and garlands in three-inch relief. One is 
an idealistic representation of Saint Agnes with her emblem, the — 
lamb; the other a strikingly realistic head of St. Jerome [Jeronimo] 
as the patron Saint of students with his book before him. In the 
background appears the red Cardinal’s hat, and most beautifully — 
worked into the frame is the paw of the lion from which he extracted ~ 
the thorn. In the wreath are scorpions, referring to his sojourn in — 
the desert of Calchis, where, to use his own words, “he lived with 
scorpions and wild beasts.’”’ On both medallions there is some spe- © 
cially beautiful work in the hands and the male head is the ne plus 
ultra of Spanish realism. 

Diameter, 2014 inches 


Note: Damian Forment, greatest sculptor of the Aragonese school, died 
about 1541. Born in Valencia, he went to Zarazoga in 1509, where he was 
influenced by the work of the Italian, Giovanni Moreto. His principal works 
are: The Grand Retables of the Cathedral of El Pilar, of the Cathedral of 
Huesca, of Poblet, of Barbastro, and so forth. In the plinths of these retables, 
portrait medallions enclosed in a Della Robbia wreath are a frequent motif. 
To quote a contemporary: “Damian’s retables are pictures in wood and 
stone equalling Ghirlandaio in harmony of color and in graceful story-telling.” 


[See illustration ] 


188 


344. Parr PAINTED AND GitpeED ALABASTER MEDALLIONS 


No. 


345: 


CarveD Woop STATUE WITH CANOPY XV Century 
The Padre Eterno is represented seated. In the left hand He hc 
the globe of the world, while the right is raised in benediction. Th 
is a lingering of the fourteenth century in the carving of the sin 
folds of the drapery, and a still earlier epoch in the stippled ba 
ground of gold with its pattern of tiny circles. The gilded can 
is an exquisite piece of work of the best period of the Gothic reta 
workers. ‘his is one of the many instances of the late penetrat 
into Spain of the changes that art underwent. Primitive Byza 
works were executed in the apogee of Gothic, and Gothic ling 
in the full Renaissance period. This figure was made for the M 
tery of Qejana, near the town of Arurio, an important religi 
foundation of the Condes de Ayala, and sup E ae in the ea 
nineteenth century. 


[See illustration ] 


190 


RAO A EEL EON OLE LL OOH 


sipuntateseeii an eo cyetsr ne om itn Giabcmer ee went n rarer tance Ts nara ee iheceaes se =e Nee ein 


Pee NAS eRe ROE 


No. 345. CARVED Woop STATUE WITH CANOPY 


346. POLYCHROMED WooD STATUE ; 


By Alonso Berruguete, XVI Century 
The Padre Eterno is a standing figure three-quarters life size, of 
great dignity, recalling the impressiveness of Michael Angelo’s | 
statues. The weight, resting on the right hip, gives a pleasing curve — 
to the body. The right hand is raised in benediction and the left — 
holds the globe of the antique world, meaning the globe of the pre- | 
discovery epoch when Christianity spread over Asia, Africa and — 
Europe only. On the head is an elaborate crown with jeweled band - 
and surmounted by a gold ball. The face, while of the general 
patriarchal type, shows close study from a very interesting living 
model. The long dark tunic is caught in at the waist by a knotted | 
girdle, and the mantle, which retains much of its gold, is pushed ~ 
well to the back. The polychromy in general is in excellent con- — 
dition. 7 
Height, 3 feet 8 inches — 
Note: Alonzo Gonzalez Berruguete (1489-1561) was the greatest sculptor F 
in wood and stone of the Spanish Renaissance. After a visit to Italy where he 
is supposed to have studied under Michael Angelo he returned to Spain and 
settled in Valladolid in 1523. His atelier (taller) was a feverishly busy place 
and produced innumerable retables and triptychs for the churches and monas- 
teries of both the city and province of Valladolid. Few of these works remain 
in situ, but magnificent portions of them are preserved in the Valladolid 
Museum, and their personal conception, vigorous technique and brilliant colour-— 
ing produce a powerful emotion on the spectator. Berruguete is elsewhere 
represented by the retablo in the Irish College at Salamanca, the stalls or 
silleria of Toledo Cathedral, and the marble tomb of Cardinal Tavera in the 
Hospital de Afuera in Toledo. Among those of the Valladolid group most 
influenced by him may be mentioned Juan de Juni and Gregorio Fernandez. 
The best publication on Berruguete is Don Ricardo Orueta’s Berruguete y su 
obra, Madrid, 1917. 


[See illustration ] 


192 


No. 346. PoLycHROMED Woop STATUE 


347. PoLYCHROMED Woop STATUETTE OF THE 


348. 


His cross to Calvary, is here represented seated and showing the 


VIRGIN KNEELING By Gil de Siloe, XV Cent 


This little figure of the Virgin is an exquisite sample of Siloe’s art. 
The young mother, richly gowned, kneels in adoration, the whole 
attitude both graceful and natural. The charming face retains its 
fresh blond tints and is adorned by a fillet of pearls binding the 
forehead and another at the neck. At the shoulder a scarf is in- 
geniously draped over the long gilded tresses to keep them from 
falling forward. ‘There is a splendid sweep of the draperies from 
whatever angle they are viewed. The full skirt brought forward 
and spread like a mat to receive the Child (missing) permitted the | 
display of a series of deep folds from the hips down and forward. 
The dress is richly gilded and lined with crimson. Innumerable 
interesting details of costume are to be noted; the deep cuffed sleeve 
slit to show the puff of the undersleeve, the fine handkerchief, the | 
gant pendant made fashionable by the glove makers of Segovia, the . 
girdle tasseled at the ends; and the rosary around the left wrist. 


Height, 16 inches 


Note: Gil de Siloe, besides being the sculptor of the alabaster tombs of Juan 
11 and his queen in the Cartuja at Miraflores, was also the finest wood carver 
of the Burgos group. In 1489, by order of Queen Isabella, he made the grand 
retable for the same monastery, which is described by the late Emile Berteaux 
in Michel’s “Histoire de l’Art”, as a piece of jeweler’s work, the wood seeming 
like enamel and gold. Comparison with Siloe’s figures of the Virtues that 
adorn the royal tombs at Miraflores shows the Almenas pieces to be almost 
identical in composition. 


[See illustration | 


SANTA VERONICA IN ALABASTER 

By Alonzo Cano, XVII Century 
Veronica, the woman recently converted to the faith, who wiped 
with her veil the drops of agony from the Savior’s face as he bore — 


u 


veil with the sacred image impressed on it. From the head down ~ 
she is draped in flowing garments, edged with gold. ‘The face is 
delicately beautiful and compassionate, with the eyes realistically 
painted. The figure on the veil is lightly outlined in red. As the 

(Continued | 


194 


No. 347. PoLyYCHROMED Woop STATUETTE 
OF THE VIRGIN KNEELING 


No. 348. Concluded : 
cathedral of Jaén, some fifty miles north of Granada, claimaan @ 
possess the Veronica veil in its treasury, it is probable that this 
statuette was made for the same place. 


Height, 714 inches without the velvet base 


4 


Note: The name of Alonzo Cano, painter and sculptor, (1601-67) is most 
closely associated with the city of Granada in whose cathedral there will 
remain many fine examples of his work. His first material was marble or ~ 
alabaster, but in Seville he became enamoured of the rich polychrome effects _ 
obtained by Montafies, and entered his atelier (taller). His own productions in — 
this field, the Adam, Eve, and St. Paul at Granada, and the San Antonio at — 
Murcia, to mention but a few among many, are considered gems of their kind; 
at the same time, he never abandoned alabaster as a medium both for small 
and large statues. . 


349. POLYCHROMED AND GILDED STATUE OF KING FERDINAND = 
THE CATHOLIC ~ ; Late XV Century 


The king is represented as a Roman Emperor in armour, half life 
SIZE, standing, and reading from a book held in the left hand, the 
right grasping a sceptre [this is missing]. Under the corselet is a 
short black tunic, long-sleeved and edged with a gold border. Fall- 
ing back from the shoulder to the ground is a mantle gilded and 
lined with ermine; the hair corselet and knee guards are also gilded. 
The statue bears close resemblance to the kneeling efigy of Don ~ 
Fernando el Catolico [also in armour] on the High Altar of the 
Royal Chapel of Granada, ordered by Fonseca from Felipe Vigarni 
[see Number 357]. Don Fernando, known in America in connection 
with Queen Isabella as patron of Christopher Columbus, is here 
shown not as a mature hard-working sovereign but as the young 
prince newly-married to the girl queen of Castile. Being hereditary 
Prince of Aragon, this marriage in 1475 united under one rule all - 
Spain north of the Moorish kingdom of Granada. By unlimited 
personal effort Ferdinand and Isabella conquered the Mohamme- 
dans and entered Granada in triumph on January 2, 1492. Colum- 
bus, in his diary, claims to have accompanied them. This victory 
-saved all Western Europe for Christianity. A special Te Deum — 
was sung in St. Paul’s, London, by order of Henry VII, and the 
pope bestowed upon the Spanish royal couple the title of the Cath-— 
olic Sovereigns [Los Reyes Catélicos ]. 
Height, 2 feet 10 inches 
[See illustration | 


o 


196 


No. 349. PoLYCHROMED AND GILDED STATUE 
OF KING FERDINAND THE CATHOLIC 


350. PoLYCHROMED Woop RELIEF OF THE 
ENTOMBMENT, UNDER CARVED CANOPY AVI Century 


The typical and accepted personages of the Entombment of Christ 
are grouped under rudely blocked-out tree and foliage forms. Joseph 
of Arimathea and Nicodemus are about to deposit the body of the 
Savior in a gilded tomb. Over Him bends the Virgin and lifts His 
hands to her lips; behind and sustaining her, stands St. John, blond 
and bareheaded, while near-by are two of the Marys, one of them | 
holding her jar of ointment. Completing the composition, Mary 
Magdalene sits in front of the tomb in the immediate foreground. 
She too holds the jar of balm, and it is interesting to note this 
example of how the later Gothic artists never failed to insist on — 
supplying the holy women with this attribute which, according to | 
St. Luke, they did not carry until they went to visit the tomb on the ~ 
morning of the Resurrection. The Virgin is clad in her traditional — 
blue mantle, St. John in red, Mary Magdalene in greyish green. — 
All the females wear heavy rolled turbans from which a scarf — 
hangs. More Oriental still is the costume of Joseph of Arimathea — 
and his companions: high peaked hats wound with a scarf, short © 
sleeve jackets over long flowing under-sleeves, high leather boots, — 
red hose. The garments of all the figures are edged with a gold — 
border. This group, both in execution and in the noble pathos i1m- 
parted to the scene, can be ranked with the famout Entombment 
in the convent of San Jeronimo in Granada, attributed to Becerra. — 
The group is set in a flamboyant Gothic triptych gilded with a © 
central projecting canopy adorned with pinnacles and crockets. On 
the narrow side panels under a carved pointed arch are the painted 
figures of a pope and a saint, on a gold background. ‘The pope 
wears the three-storied tiara moulded in stucco, and carries the 
almoner’s bag. Huis long red robe is bordered with ermine and 
under it is a green tunic with long sleeves. On the right panel — 
is a young saint with moulded halo, and holding a crossbow and — 
three arrows. His green cloak is lined with red and thrown back 
over the left arm, disclosing the under tunic with ermine band and 
the red hose. Both figures stand on a tiled floor of black and white 
squares. ‘The paintings are probably Valencian of the late fifteenth 
or early sixteenth century, and attributed to the atelier of Bermejo. 


Height of group, 20 inches; of canopy, 4 feet high 


Sculpture, 3 feet 3 inches wide 


| 351. Carved Woop Group XV Century 


THE ADORATION. Joseph and Mary under the rustic thatched 
: Be caiopy receive the Three Kings with their gifts; one of these, Bel- 
shazzar, being black in conformity with the mediaeval tradition. 
_ The Virgin’s gold chair has claw feet of Roman type; her robe was 
once gilded but only a few traces of the gold and blue show. The 
Bisisting and gilding were laid on a coarse linen covering applied to 
_ the wood with size according to the earliest methods. Innumerable 
- interetng details of costume have been minutely carved, such as 
the tassels, fringe, jewels and embroidered scrips of the Wise 
Men. Every head in this important group, and especially that of 
the Ethiopian king, is an intensely interesting study. 


Height, 2 feet 8 inches 


~Gitpep Woop STaTruetrEe oF THE VIRGIN 
; Flemish, XV Century 
\ ‘Seated in the bend of the Mother’s right arm, is the Infant Jesus 
i with an open book, while in her left hand she holds a stiff little 
: bouquet. The broad face is surmounted by a two-coloured kerchief 
twisted like a ring or crown. The entire statue is gilded save for 
~ the black and white chemisette and the black lining of the mantle. 
& This, retaining all its gold, has a border of Gothic letters painted 
red, in which the sacred names can be made out. On the back is 
the Antwerp impress. ‘he statue is provided with a five-sided wal- 
nut base, a band of Gothic pierced carving set against a gold backing 
and finished top and bottom by simple mouldings. [The lower 
moulding in this case is a restoration. | 


“352. 


Height, 14 inches; base, 5 inches 


199 


353. PoLYCHROMED AND GILDED STATUE OF SAINT MICHAEL 
KILLING THE DRAGON | AV Century 


Saint Michael is represented as a youthful knight in armour and a 
flowing red cape trimmed. with gold. He stands and is about to 
transfix the prostrate monster which he has succeeded in overturn- 
ing, its. feet insthe aie The winged Satan i is intended of course oO 
be of very terrifying aspect—huge jaws open and long red tong 1e 
projecting. As a contrast, Saint Michael looks calm and unfright- 
ened. His heavy blond curls are held in by a gold fillet, and thick 
gold again appears on the knee and elbow caps and on the belt. 
There is a charming Gothic simplicity about this piece. d 


“ar * 
a A 


| : ae Height, 4 feet 
[See illustration | i : 


200 


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No. 353. PoLYCHROMED AND GILDED STATUE OF 
ST. MICHAEL KILLING THE DRAGON 


354. RELIEF oF ST. JEROME IN THE DESERT | 4 
By Gaspar Becerra, XVI Cent 


Saint Jerome, self scourged and mortified, i is praying at his roc 
altar in the desert. His gaunt body indicates extreme extenua 
after his fastings and discipline, and his eyes are raised in desper 
supplication. On the altar is his book of the Gospels. The ba 
ground is in dark bronze tones, the trees taking fantastic. shapes 
if of menacing monsters. At his feet is his emblem the len. i 
sculpture is very similar in composition and colour to the same 
sculptor’s well-known Saint Jerome in Burgos Cathedral. It is 
mounted on a base covered with sixteenth century cut velvet. = 


“ 
; Height, 17 inches; base, 6 inches 


Note: Gaspar Becerra, born about. 1520, was perhaps the most noted carver 
in wood, after Berruguete. Like him he studied in Italy and, after working 
awhile in colorless marble, came back with enthusiasm to the Spanish estofado 
or polychrome wood sculpture. The most complete extant piece of his work is_ 
the retable at Astorga Cathedral, which, according to oe Carl URS is endowed — : 
with “ideal iene and dignity.” : > 


# 
y 


[See illustration | 


202 


No. 354. RELIEF OF ST. JEROME IN THE DESERT 


355. PoLycHROMED Woop STATUE OF A MarTyR AV Century 
A male Saint tonsured; it 
his right hand a closed book 
and in the left Bee | 
of his martyrdom—a sword 
with jagged blade. Over. a 
long white tunic with gold 
pattern, falls his gilded dal- 
matic edged with the alter- 
nate black, white and gold 
fringe that was so much used 
in Spain. The collar is em- 
broidered in gold on a black 
ground, This important. fig 
ure is unusually beautiful in’ 
proportion and line; the 
slight bend of the body being 
full of Gothic grace and the 
vigorously modeled head | 
and hands showing the deep — 
feeling and spirituality of 
the best of the Castilian 
saint-carvers [imagineros]. 
The canopy forming part of — 
the composition is a combina- 
tion of Gothic and Plater-— 
esque. The portion behind — 
the figure is arranged in 
three panels with tracery at — 
the top. The actual canopy — 
is of flamboyant detail with — 
simulated vaulting behind. — 
The base is in the form of a _ 
pendant with pure Plater- 
esque detail. 


Height of figure, 3 feet 5 inches 
Total height, 5 feet 6 inches 


No. 355 


[See illustration ] 


204 


No. 355. PotycHromMep Woop STaTuE OF A Martyr [Detail] 


356. GROUP FROM A CALVARY, IN GOLD AND PoLYCHROME 
Attributed to Juan de Juni, Middle XVI Centum 


This piece of sculpture was part of a Crucifixion, the rocky front 
slope of the Calvary Hill on whose summit rose the Cross [no 7 
missing]. Placed up the slope in a most satisfying composition, are 
ten figures, all thus made important without effort on the artist’s 
part; they divide naturally into the traditional grief-stricken group 
of the Three Marys accompanied by Joseph of Arimathea and St. q 
John, and the group of feelingless soldiers who executed the order | 
of Pilate, these in the armour of the Roman Legion. An interesting 
detail of their costume is that they are all turbaned in the Oriental 
manner, their captain having his wound around his metal casque. q 
Except for the coloured turbans and the blue lining of the captain’s | 
mantle, the Roman group is all gold. The others show more colour, — 
St. John being in a red robe and the Virgin in blue. Her right arm 
hangs limp, and St. John supports her. In the pathos of these 
figures to the left there is nothing exaggerated, merely a refined and | 
restrained picture of human sorrow. The work is in excellent 
preservation, the gold hardly knowing a scratch. It is supported — 
on a platform with conical pendant below carved in Gothic fambovss 
ant detail and heavily gilded. gq 
Height of group, ee y. 


Note: Juan de Juni, one of the brilliant group of Valladolid sculptors, 
lived in that city from 1545 till his death in 1577. He is supposed to have 
been a native of Joigny in France and to have gone as a youth to Leon where 
he carved in the atelier of the Cathedral. His art is thoroughly Spanish in 
character, full of energetic movement, tense expression, and.aiming to evoke 
an exalted emotion in the beholder; his colouring is beautiful and not exag- 
gerated. In the Valladolid ieeaes he is represented by The Entombment 
and the fine statue of Santa Ana; and in Leon, Salamanca, Avila, etc. by 
various retables and groups. 


[See illustration | 


CALVARY 


A 


ROM 


F 


tROUP 


56. 


3 
IN 


No 


GOLD AND POLYCHROME 


357. POLYCHROMED STATUE. OF QUEEN ISABELLA ‘I 
THE CATHOLIC Sie Late XV Century 
Spain’s great Queen, whose untiring efforts to free Spain of the 
Mohammedans gained from the Pope the title of “The Catholic”, 
is shown standing, her head turned slightly to the left, and holding 
a missal or Book of Hours. She wears a dark blue robe and over 
it a red mantle lined with ermine, while on her head is a coif not 
unlike the one she wears in the Prado portrait by Antonio Rincon 
and again in the kneeling statue at the High Altar of her mausoleum n 
in Granada. Head and hands are beautifully modeled as if in 
serious effort to secure a real portrait. There is no trace of gold 
ever having been applied over the red of the Queen’s cloak, which 
suggests that this statue may have been a model presented from the 
atelier of Felipe Vigarni who had in charge the decoration of the 
Royal Chapel. The canopy is composed in rich flamboyant Gothic 
of the ‘Catholic Sovereigns” period with colonnettes at the sides. 
and interwined arches at the top, all heavily gilded. — 


Height, 4 oe © inches 
[See illustration ] ‘ 


208 


No. 357. PoLYCHROMED STATUE OF 
QUEEN ISABELLA THE CATHOLIC 


358. CARVED AND POLYCHROMED Woop , 
STATUE OF ST. MARTIN: Carcavelos, XV Conte 

A more naive and innocent piece of Gothic statuary would be hard 

to find. Martin, still a soldier and not yet a Christian, is hardly 
formidable as a leader of the Roman Legions, but most charming 

and gracious as a young Patrician. Mounted on a white horse 
[which color, by tradition should have been reserved only for San- 

tiago Matamoros], he is handsomely turned out, no detail ov 
looked in his own or his horse’s equipment. Over bushy curls he 
wears a hat with upturned brim, gold-edged, and fastened in frond 

to the crown by a jeweled brooch. The cape he so generously cuts 

in two is a magnificent garment of red patterned on gold, bound by _ 

gold galloon, and with a full rippling collar such as is worn to- day : 

on the capa in Central Castile. It is interesting to note, if one cares _ 

for the technique of Gothic polychromy, that where the wood along 

the front edge of the cape has disintegrated and passed away in dust, _ | 

the coarse linen wrapping under the estofado is intact. ‘he Saint's 

black tunic falls in regular pleats below an etched gold corselet and 

is patterned in blue, the blue being scraped back to reveal the gold, q 

and not, as one would say at first glance, a gold pattern painted on 

a blue surface. ‘There are slashed sleeves with double puffs caught — 

at the back and all leather in the harness has been painted with care- 4 

ful realism to imitate the heavy linen stitching. The statue is in — 
wonderful state of preservation. - 
Height, 3 feet 10 inches =. 
[See illustration | 


210 


No. 358. CARVED AND PoLyCHROMED Woop 
SraTUE OF ST. MARTIN 


sapue 


: 
= 
af 
1 
f 


CarveD Woop STATUE OF SAINT PETER SI 
Catalan, Early XIV Century — 


This is a highly important piece of Spanish work comparable to the a 
best in the Museo de Belles Artes in Barcelona, or in the famous 


medieval collection of Don Luis Plandiura of the same city. San 


aa 


Pedro is standing, life-size, wearing the lofty pointed papal tiara ya 
his long alb is ornamented with a red rinceau border, and the 


chasuble is specially interesting in that it is painted all over in a 


small diaper copied from the Moorish weavings of the period, such — 


as the famous mantle of Fernando el Santo, preserved in the © 


Municipal Museum of Seville. The orphreys and collar of the . 
chasuble are imitated in modeled stucco, gilded. ‘The right hand is — 


raised in blessing, the left once held the keys. A modeled stucco 


= 
wy 


medallion decorates the back of the pontifical glove, the circulum 3 


sandals. ‘The sides of the base have a red foliate ornament and on 


-aureum mentioned by Pope Innocent III. On the feet are red — 


--= 


the front an inscription in Catalan, unfortunately much obliterated. — 


An early nineteenth century reading of the inscription, when prob- 


ably it was somewhat clearer, is as follows: JO P JOHAN [or ~ 
JOVANY | DE SANT P FIU FER ESTES HIMATJES I. In Spanish this — 


is equivalent to [filling certain omissions]: Yo, Padre Juan de San 


Pedro mando hacer estas imagenes 1320; or in English: I, Father 
John of St. Peter, ordered these images to be made [inv132008 


Height, 6 feet 7 inches 4 


[See illustration | 


212 


No. 359. CARVED Woop STATUE 
OF SAINT PETER 


360. GILDED AND PoLycHRoMED Woop Erricy oF PHILIP 


B01 


history as the Emperor Charles V, who inherited Flanders from his 


_ series of alabaster statues made for a retable by Gil de Siloe, the — 


on the right leg and with a long robe gathered up into the right — 


THE FAIR XV Century 


This Duke of Burgundy, Felipe el Hermoso was the husband of 
Queen Isabella’s daughter Juana the Mad, and is thus considered as 
Philip I of Spain. Their son was Charles I of Spain, known in 


father and Austria and Germany from his grandfather the Emperor 
Maximilian. Philip, who died in Burgos, is represented as a richly 
dressed young man of Flemish type, his blond curls heavily gilded. 
The figure offers an interesting study in late Gothic male costume: a 
girlish sort of chemisette without a collar gathered into a square | 
neck form, a dark green knee-length tunic embroidered and edged 
with gold, and caught in at the waist by a leather belt; falling from 
the left shoulder a mantle which leaves the right arm free, making 
ample folds almost to the ground; it is heavily gilded and is bord. 
ered by a jewel-set galloon. The hands are gloved, the left clasping ~ 
a long gold-handled sword, the right a sceptre. Dark red hose and — 
sandals tied with black ribbon complete the attire. It is interesting — 
to compare this statue with a portrait of the prince in the Museo del 
Prado in Madrid, of which an account is given in the Boletin de la 
Sociedad Espanola de Excursiones, Vol. XXII. 
Height, 4 feet 714 inches 
[See illustration] © 
ALABASTER STATUE OF THE APOSTLE SANTIAGO a 
By Gil de Siloe, Late XV Century 


In addition to its being a masterpiece of the transition between 3 
Gothic and Renaissance, further importance is attached to this 4 
statue of the Patron Saint by the fact that it 1s mentioned in the 7 
archives of the Carthusian Monastery of Miraflores as one of a — 


famous converso, or converted Jew. The Patron Saint of Spainis 
here shown in the garb of the pilgrims who used to flock to his tomb | 
in the middle ages: long-haired, long-bearded, grasping his pilgrim’s 
staff and gourd and further supplied with his apostolic attribute of 
a book. On his head is the broad brimmed hat adorned by a shell — 
and over his shoulder is hung the all enveloping cape clasped at the — 
neck by a shell buckle; again a shell appears to fasten the flap of the — 
leather bag. ‘The saint stands at ease with the weight of the body — 


hand. The head is a masterpiece of stone carved at small scale; jm | 
[ Continued] 3 


214 


No. 360. GILDED AND POoLYCHROMED Woop 
: EFFIGY OF PHILIP THE FAIR 


No. 361. Concluded 


BO 


intensely delicate around the mouth and eyes, and the brows de | 
up in thoughtfulness. Siloe’s Gothic training is evident in the a angula 
golds of the drapery discreetly decorated with a small soldat moti 

imitating textile; touches of gold are visible in the hair and beard 
on the edges of the tunic and cape and on the leather scrip. 
has imparted a most beautiful tone to the alabaster. The statue i 


on a perfect state of preservation. a 
Height, 18 inche 


CARVED Woop STATUE OF THE VIRGIN mae 
OF THE ANNUNCIATION ALT Conta 


The early statue is strikingly pr ecentede in a niche lined with antique 
black velvet, its canopy formed by the little turrets so much used in 
the twelfth and thirteenth century sculptures, and supported by 
slender twisted colonnettes. The Virgin, with hands crossed on the 
breast, inclines in chaste humility, to hear the angelic message, 
“Thou art the handmaiden of the Lord.” The head, covered by a 
white coif, is in a remarkable state of preservation; through the 
bronze tone it has acquired during some seven centuries the cheeks 
still glow, and the black pupils and red lips combine to give it great 
vitality. With eyes round-open in innocent surprise, lips slightly 
parted, the face expresses an indefinable spirituality, and the whole 
can only be compared with the similar standing Virgin [more 
mutilated] in the Barcelona Museum of Fine Arts. This statue was 
undoubtedly part of a life-size group of which the Angel Gabriel 
formed the missing figure. Even incomplete she is of indestructible | 
beauty and ranks with the best wood carvings of the Romanesqi@ 
period. 

Height, 4 feet 5 inched 


[See illustration | > 


216 


No. 362. Carvep Woop STATUE OF THE VIRGIN 


OF THE ANNUNCIATION 


POLYCHROMED EQUESTRIAN STATUE OF 
SAN HIpPoLiro From Tamara de Camos, near Valencia 
XV Century 


This magnificent piece of late Gothic sculpture comes to us intact 
in every detail; fresh color in the estofado treatment of the gold on 
the horse’s trappings, spurs, and stirrups. We see the Saint, a rich 
nobleman of the district, riding out to hunt, with his black falcon 
on his gloved hand. The horse is represented as standing trans- 
fixed at a certain spot whence no amount of urging could move him 
—the secret entrance, according to the legend, of a hermit’s cave. 
Hipolito entered, was converted to Christianity, gave his goods to 
the poor, and passed a saintly life. This group is further interesting 
for the anecdote in connection with its acquisition. It occupied the 
outer tympanum of the lateral portal of the church dedicated to the 
Saint in Tamara, a portal disused for the past two centuries because 
of the Baroque altar set up against it inside. —he Count of Almenas, 
noticing this, consulted with the Bishop of the diocese to see if he 
might acquire the statue, offering a handsome sum to put the whole 
church in repair. The agreement was soon made, but the populace 
of Tamara, at the instigation of the republican and anti-aristocratic 
element, surrounded the church and refused to allow the removal of 
the statue. Several changes in government took place before a new 
and favourable “boss” or cacique rose to power in the town and 
permitted the Bishop’s orders to be carried out. 


Height, 5 feet 6 inches 
[Illustrated as frontispiece | 


219 


als HS SIE 


364. PAINTED TABERNACLE OR areas alban x Centual 


A gable- topped box four inches deep, its front opening by two shut- 
ters; these swing on inter-locked staples. The front 1s beautifully 
painted inside and out with figur es of saints, presenting a collection 
of Valencian primitive panels in a most excellent state of preserva- 
tion. As the sides and top are undecorated the box was ie 
embedded in a wall niche. On the exterior the doors are set off 
in two scenes at each side surrounded by a gold stippled fram 
edged with black. Each saint has a black outline and i 1s named i in 
Gothic characters, San Pedro and San Pablo being in the small 
peaked panels, and San Rafael and San Juan Evangelista below. All 
stand on tiled floors innocent of perspective, but the rooms thus 
paved recede sharply. Robes are of a beautiful red, except Rafael’s, 
and the saints have gold haloes. On the inner left surface we have 
Saint John and on the right Saint Michael; the former holds his” 
lamb and book and the latter tramples down the dragon Sin and 
holds a pair of scales in which he weighs souls [soul always being | 
represented by diminutive nudes]. On the large central panel Saint — 
Francis receives the stigmata, the background here being a dark 
blue sprinkled with stars. In the inner pediment is a charming little — 
Annunciation, the angel holding a scroll beginning AVE MARIA. This — 
is a most interesting and important piece of Valencian painting and 

in perfect condition. | > 


a 


Box, closed, 14 by 22 inches — 


[See illustration ] 7 . 


220 


fl 


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4 


SHRINI 


OR 


4 


ACLI 


RN 


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4 
4 


p TABI 


4 


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Ronctnts 
Ni, 


ob 


comegeenne: 93% 


at, 


No. 364. Pal 


365. 


366. WALNUT ARMCHAIR COVERED WITH GREEN 


WALNUT LEATHER-COVERED DANTESQUE CHAIR XV Century 


In this beautiful old chair, walnut, leather, and nails are all of one 
colour, the uniformity of the tone hardly broken by the little bits of 
white and green in the inlay. This is entirely worn away on the 
arms, but remains intact on the round pivot joint below—bone in 
small star patterns, some white, some painted, with minute box- 
wood strips separating the little compartments in the manner of 
cloisonné. The leather back and seat of the chair are interestingly 
quilted and carefully bound with a narrow leather strip. | 


[See illustration | 


VELVET AND APPLIQUE AVI Century@ 
A splendid chair solidly built throughout, with a slight easing of | 
the arms, an exceptionally fine splat and nicely carved finials at the ~ 
back. The splat shows a blazon supported as usual by amorini, but — 
these terminate in dragon tails in the grotesque spirit of the third — 
decade of the sixteenth century. Over a leather seat is a rich-toned | 
patterned green velvet held to the frame by specially fine lozenge- — 
shaped nails, heavily gilded. Set into the back is-a silk panel cov- = 
ered with green velvet appliqué. f 


[See illustration | 


222 


qNOITdd VY 
GNV LAIATAA NAAIH HALIM david 
-AOD) YIVHOWAY LANTVAA “99% “ON 


MIVH?) ANDSAINVG 
CANAAOOUAHLVAT LANTVAA “59 “ON 


367. 


BOS. 


369. 


370. 


GoTHic [RON HANGING LAMP 


‘bands of iron at the top and bottom, one of these obviously from ad 


Parr ARMCHAIRS COVERED IN GREEN AND 4 

YELLOW SILK _ Late XVI Century 
These dignified frames of walnut have the arms slightly eased, 
thereby placing the period of the chairs at the end of the century. 
The forward uprights are delicately fluted and the splat carved in 
the traditional manner. The covering is an old Toledan fabric of 
extraordinary brilliance; on a gold tissue field is woven a bold floral 
design of variegated green velvet. The fringes and espiguillas are 
all in tones of green and yellow and beautifully mounted. The fab- 
ric is fastened to the frame by means of large fire-gilt nails. In 
excellent condition. a 


Square in form, the framework consists of pertorated and emboseall 


Gothic grille. At the corners are vertical strips terminating in little 
turrets with pinnacles above and shields below. ‘The glass, leaded 
in squares, comes from old churches, with a few modern exceptions. — 


Height, 24 inches; width, 18 inches = 


Pair [RON ‘TORCHERES 8 Gs Century f 
Called in Spain hacheros. ‘The shaft, four-sided, is twisted and — 
scored, and rises from the typical Gothic tripod. The drip pan, — 
measuring some ten inches in diameter, has a cresting perforated — 
in quatrefoils and divided into five sections by little turrets. The — 
candle-socket is surmounted by three fleurs-de-lis. [On each 
torchere one of the strips or sections of cresting is restored. | 


Height, 4 feet 10 inches © 


WALNUT FOLDING BENCH COVERED WITH 
GREEN VELVET XVII Century 


Wall benches, whether all wood or covered with leather or rich — 
fabrics, were much used in Spain both in the palace and in the 
sacristy and High Altar of the church. Beautiful old velvet benches 
still remain, by miracle, on the altar of Avila Cathedral. We have 
here the usual frame of a back folding down onto the seat, and 
richly carved cabriole supports, braced to the seat by polished irons 

[ Continued | 


224 


. 


! r 


rhe Sa Nhe hE Aap hs 


".F 


i) 


~ 
” 


ih Nia ge 


| No. 370. Concluded 


split and curved at the splat. The quilting of the velvet adds to a 
material already rich the pleasing contrast of high lights and 
shadows. Quilting was much practised by Spanish upholsterers, who 
had an endless list of designs at their command—scale form, lozenge, 
quatrefoils, trefoils, etc. In the present piece, the design is the 
quatrefoil, and the nailing of the covering is done by small brass 
rosettes. 

Length, 5 feet 6 inches 


a i 
ne 


LEATHER-COVERED GOTHIC CHEST WITH IRON 
McuUNTINGS XV Century 


These rectangular forms built up of wood, covered with stout 
leather, and reinforced with decorative iron bands were much used 
in mediaeval times. Large, for clothing and linen, or small, to set 
on a table, the details of their making did not vary much—the iron 
bands generally terminated in the shell of Santiago, a perforated 
band of Gothic tracery bordering the lid, and the locks were 
nicely wrought with turreted fixing staples and with decorative hasps. 
The present example, considering its years of service, is in excellent 
condition. It was exhibited in the Exposition of Old Decorative 
Ironwork, Madrid, 1919. 


Height, 17 inches; length, 3 feet 4 inches 


[See illustration | 


225 


372. 


brackets supporting the table top and the contour of the turned 
- would suggest an Andalusian origin. The top, instead of extending 


are the previously mentioned brackets of Baroque profile. Thi e 


SMALL WALNUT EXTENSION TABLE | Early XV Centum 


Small extension tables are rarely encountered in ‘Spain, for whic 
reason this piece may be considered unique. The carved Cordov 


the length of the table, opens to the sides, forming a perfect square. 
The table apron is nicely paneled on all four sides, ‘including the 
drawer fronts. At the corners of the apron and between the drawers rs 


turned legs taper to the bottom, which detail along with the outside 
stretcher is rather uncommon in Spain. ‘The table ip unrestored 
and well preserved. | 


Length, 3 feet 6 inches; width, 2 feet ; top when open, 3 feet fe are square 


[See ‘linseed ome 


Dyke: 


uA a 


7] 


Pe Sel FS a A \ pl Te 
i . : 


~ 
: 
4 


TABLE 


NSION 


ALNUT EXTE 


‘ 


4 


No. 372. SMALL W 


fables for wooden longituinal stretcheven 


Soaped feet 8 inches 8 


| 


| ra See illustration ] 


228 


No. 373. CENTER TABLE WITH lRoNs 


found at ie top Fee als Penis te cael . 
drawers. In excellent condition and unrestored. 


Height, 3 feet i; inches ; length, 4 feet ( -inche 


See illustration] — 


230 


“nite ne: oe agp teeta RT BAB 


No. 374. DrntNG-RooM BUFFET OF OAK 


Si: 


SINGLE RENAISSANCE CHOIR STALL XVI Century 


Good example of a unit of a silleria baja or lower row seats placed — 
in advance of the canopied stalls in churches where numerous priests — 
had to be accommodated. The piece is solidly constructed of walnut — 
and nicely carved. ‘The stall-ends are cut to an interesting profile © 
with sculptured heads of bichos at the level of the arms and seat. © 
Above and below the seat the back is heavily paneled. The under ~ 


side of the hinged seat is featured with a turned pendant as a 
miserere. Perfect preservation and beautiful patine. 


Height, 3 feet 4 inches; width, 2 feet g inches; depth, 2 feet : 


[See illustration | 


DO 


No. 375. SINGLE RENAISSANCE CHAIR STALL 


aan "re % ~ OO SR 


he a i A ie tind ae A tm 


376. CONQUISTADOR CHEST FROM THE CATHEDRAL OF | 
MALAGA . Daten Cena 


One of the treasure chests used by the Spanish congue as on 


~ escutcheon plate. N ieee decorative piece that belongs? to. did 
age of the great high-poop galleons that sailed the Spanish | Man n. 
The chest is known to have once formed part of the sacristy 
furniture of the Cathedral of Malaga. Though at variance wid 


eee is redolent of Spanish art, especial thc? eee use of iron 
of perforated pattern with the under surface painted in imitation 
of velvet. The iron straps, corner pieces and lock-plate, are all 
beaten in repoussé, scored with ornamentation, and riveted to the 
stout box. The Indian-head escutcheon is released by moving the 
iron tab underneath to the right. An important and rare piekg 
unrestored and in perfect condition. | 


Height, 2 feet 7 inches; length, 3 feet 5 inches; width, 1 foot 9 inches 


[See iNustea one 


234 


a 2 Ol My ae a aS a 
i mn i ’ i 7h? 


No. 376. CONQUISTADOR CHEST FROM THE 


CATHEDRAL OF MALAGA 


377. CARVED AND GILDED PLATERESQUE NICHE AVI Cena 


This motif once formed the central feature of an important Plater 
esque retable. At the sides the niche is flanked by pilasters richly 
ornamented not only on the front but on the return face of the 
reveal. The opening is crowned by the favorite shell motif, similar 
to the famous retable of Vigarni in the Royal Chapel of Grana ae 
At the base of the shell and within the niche proper is a beautiful 
frieze of painted and gilded figures, spirited in modeling and color- 
ful in estofado. In the side pilasters blue is introduced i in 1 conjunc. 
tion with the gold. 7 oo a : 

Height, 4 feet 7 inches; width, eee a inches 


ns 


378. Watt BENCH COMPOSED OF PAINTED PANELS Teruel @ 


Fourteen of the most interesting of the Teruel panels not used in © 
mounting the ceiling No. 422 are comprised in this bench, as well — 
as small corbels or zapatas and bits of floral frieze board. The sub- — 
jects mostly from mediaeval tales—a fox plays the tambourine; rats — 
hang their enemy the cat on a gallows-tree; the buffoon shoots an — 
arrow; witches [brujas|, who are half woman and half strange — 
beast, fly through the air. One of the most unusual subjects is a 
graceful nude surely meant to represent Eve, interesting because at — 
this epoch the nude was rarely represented in Christian art. A 
woman churning is another unusual subject. In most of the panels — 
the background is reddish, in others dark green. All figures are out- 
lined in black and the colour, which seldom varies from dark green, 
umber, and ochre, is always laid flat within the black outline with no — 
attempt at modeling. As said in connection with the Teruel ceiling, — 
these pictures are most valuable for the study of Aragonese panel 
painting. 


Panels, 10 by 26 inches — 


236 


SE lS 


ul 
' 
? 
: 


Mupejar CuHesT oF WALNUT WITH INCRUSTATIONS 


The geometric inlays of this chest are restricted to ebony and two 
shades of boxwood, imparting to the surface the attractive colouring 


and texture of old tooled leather. For further ornament it has four 


carved shields, varying slightly in their quarterings, and being those 
of the Duke of Albuquerque and his historic daughter Leonor, Ja 
rica hembra de Castilla; literally, the rich female or heiress. In the 
shields appear the ubiquitous lions and castles, the less frequent bars, 
and the pilgrim shells. Save for these Spanish coats of arms every- 
thing else is Mudejar, the admirable handicraft of some Moorish 
artizan. ‘The shields are distributed two on the face and one on 
each end; to give them greater prominence the band of incrustation 
surrounding them is cut back half an inch. Iron bands worked with 
a small pattern strengthen the corners. [Lid and claw feet have 


been restored. | 
Height, 1 foot 9 inches; length, 3 feet 2 inches 


[See illustration ] 


237 


380. IRoN STRONG-BOX WITH ELABORATE LID-LOCK XVI Century 
A splendid example of the ironworker’s art in which strength : 
decorativeness are successfully combined. — Around a stron; 
box are wrapped and riveted heavy bands of iron lattice fas 
Along the upper edge is a heavy flange which is gripped by the 
slide bolts of the lock. This feature, covering the entire undersic 
of the lid, is a masterpiece of the locksmith, the thirteen bol 
working simultaneously at a single turn of the key. ‘The mec 
is covered in part by a beautiful panel of perforated iron with e 
figures in elaborate costume. The once brilliant painted escutc 
and devices are now much worn away but the double-headed | 
of the Hapsburgs can be seen on the shield to the left. On the 1 
of the chest in the small panels are plainly seen the Castle of Castile, 
the Lion of Leon, and the clustered arrows of Ferdinand. and 
Isabella’s famous device. Undoubtedly the box once presente 
gorgeous array of heraldic decorations, coloured and gilded. 
perfect preservation. 


Height, 2 feet 2 inches ; length, 3 feet? inches ; width, a - foot 7 inch i | 


[See illustration] 


238 


Hae Saal 
Cees: 


te: 
= 


No. 380. [RON STRONG-BOX WITH 
ELABORATE Lip-Lock 


he WALNUT LIBRARY TABLE WITH CARVED DRAWER iF - 
OM A II & ur) 


icyclopatene due: undoubtedly to contact saith the Netherlandal 

single drawer extends the full length of the table and in confo Or 
with the remaining sides is carved. on the face; a plain panel 
modates the pull and key escutcheon. In excellent preseryaue 


a 
unrestored. © é ; | a 


Height, 2 feet 8 inches; length, 4 feet 4 ‘inches ; width, 2 fees z : 


382. VARGUENO SUPPORTED ON iene oe FeASin ‘Late wal Century 


Of the three general types of varguefos, this example is the second 
or intermediate class. It is of adaptable size yet holding its own 
ina room. The exterior of the cabinet is fully equipped with e 
traditional mounting irons, plaques, pulls, and lock-plate. All are 
original, have never been removed, and still show traces of fire gilt. 
The interior is set out with the classic arrangement of drawers. and 
compartments, the decoration characterized by sobriety and good 
taste. Applied ornamentation consists of ivory inlay and colonnettes 
with gilded drawer-pulls of the cockle shell design: The interior is’ 
likewise devoid of any restoration. ‘The trestle stand supporting 
the cabinet is the traditional pie de puente or “bridge” uppomg 
referring to the open arcade between the upright ends. An un- 
restored trestle is even rarer than an unrestored cabinet. 


Height, 4 feet 8 inches; ine 3 feet 2 inches 


[See illustration | 


383. SmMaty Taste CasineT witH INcrustaTions XVII Century” 


240 


a 
a 
Ne 


pag Si is parapet ate Mi ate 


a 


PREY 


No. 382. VARGUENO SUPPORTED ON TRESTLE STAND 


IB ve Bane ae Cine ate b 
irons which split and curl at the splat, 


ariae serceede in ce ia ‘opnoltented ae j ile 
an endless number of ection were employe ,  LOneales 
_ bench has been restored. ‘fe : on 
feet 6 inches 
[See lustration]) | 
ine : 


242 


A eat 


No. 384. WALNUT FOLDING BENCH 
COVERED WITH RED VELVET 


385. WaALNuT ARMCHAIR COVERED WITH RUBY VELVET — 
3 XVII Century — 
This elaborately carved frame offers several unique points; the arms _ 
are specially wide, the front upright members are carved, not merely _ 
scored, and each wide arm is upheld at the front by two carved — 
brackets. These unusual features are accompanied by a rich splat. © 
For strength, the ruby velvet is placed over leather, and the up- 


holstery is finished by a double-layer Toledan fringe, gold above red — 
silk. ‘Che gilded bronze nailheads are of two patterns alternating, 


and crowning the back uprights are gilded bronze finials. © | 
[See illustration | 4 | 


244 


” 


LARGE WALNUT ARMCHAIR COVERED WITH WINE- 
COLOURED VELVET. Late XVII Century 


The carved arms and legs proclaim at once a radical departure from 
the classic simple frailero, and the form shows the French influence 
that came into Spain with the Bourbon dynasty. Handsome and 
comfortable, the type remained in vogue all through the following 
century. Unlike the chair frame, the upholstery is _ traditionally 
Spanish in character. The seat is of plain wine-coloured velvet 
bordered by a rich fringe of red and gold. The gilded nails are 
like fine pieces of goldsmith work, designed with the double-headed 
eagle of Charles V. Set into the velvet back is a rich panel of gold 
embroidery surrounded by a gold twisted border in heavy relief. 
The chair is in an excellent state of preservation. 


[See illustration | 


245 


387. 


388. 


389. 


390. 


LIGHT-COLOURED WALNUT ARMCHAIR COVERED WITH a 

Rep VELVET XVI Cent ‘y 
An armchair remarkable for the extraordinary colour and quality 
of the walnut, worn to the tone and smoothness of old ivory. The 
form is that of the middle sixteenth century, straight arms and legs 
braced by floor stretchers; unusual is the carving on the arm- tops, 
The covering is of deep red velvet, the seat edge hung with gold 
thread and adorned with gilded nailheads. The back of the chair 
is richly embroidered in gold, edged with gold cord and fringe. A 
very fine chair in splendid condition and without restoration. 


Hatt BENcH MADE UP OF ANTIQUE PANELS DG Century 
The form is practically that of a chest provided with tall back and 
arms. The paneling is all antique of oak with carved linenfold 
design. In the center of the lower portion is an antique iron lock- 
plate with fixing-staples. The structural frame of the bench is 
modern. Covering the seat is a long cushion of gold and green 
brocatelle with a much prized bird design. On the underside the 
cushion is lined with leather. = 

Height, 3 feet 6 inches; length, 5 feet 9 inches 


WALNUT ARMCHAIR COVERED WITH QUILTED 
ReD VELVET — Late XVII Conta 


The frame is elaborately carved, and the form of the arms, the 
terminating consoles at the back, and the over-all carving of the 
uprights and splat indicate the lateness of the-epoch. The up- 
holstery is quite sumptuous, the back covered with rich gold and 
silk embroidery and the seat quilted by means of gold thread stitch- 
ing. The piece is finished with suitable fringes, galloon, and hand- 
some gilded nailheads. 7 


ParR WALNUT VELVET AND DAMASK ARMCHAIRS | 
XVI Century 
A remarkably fine pair of chairs with collapsible frames, and resting — 
as was the rule with folding chairs, on sole pieces with carved ends. 
The carved stretchers are solid without the perforations of a slightly 
later date. Over the leather seats and backs there is a covering 0 of ig 
mellow-toned green damask with central pillar of velvet, the small 
pattern of the former being considered choicer than the bold pome- 
granate design. Gold fringe, fire-gilt nails and the long hasp at the 
back complete the chairs. 


246 


BLUE VELVET AND WALNUT ARMCHAIR XVI Century 


A fine dark walnut chair of Philip II style, with straight arms, filleted 
uprights and carved splat. The sixteenth century method of con- 
struction with turn-screws at the sides is followed. Particularly fine 
and rare in colour is the blue velvet covering. The seat is un- 
featured except for the silver and blue fringe and fine gilt nails, and 
the back is adorned with a rich woven, not embroidered, yellow 
escutcheon; this shows the royal arms of Castile and Leén hung 
with the Collar of the Golden Fleece. Chair in perfect condition. 
as was the rule with folding chairs on sole pieces with carved ends. 


ALTAR FRONT OF CARVED AND GILDED Woop XVI Century 


Originally a carved frame around a deep set sculptured panel. 
This has been replaced by velvet embroidered to form a series of 
niches. [he frame consists of end pilasters and a connecting frieze 
at top and bottom of richly carved Plateresque ornamentation at- 
tributed to Felipe de Vigarni. Here again we have the very essence 
of Spanish Plateresque decoration—violent action in the amorini 
astride weird beasts, legless and headless male figures terminating 
in lashing tails of sea-serpents, female figures wind-swept and with 
flying hair, racing at or from each other. Products of a lively im- 
agination and executed with extraordinary skill. To enrich the 
ensemble, the entire frame is heavily gilded and worked in estofado 
—that is the gold ground is worked over with the needle to bring 
out the desired colours and texture. In this manner greater minute- 
ness of detail can be secured, as witness the flying fabrics of the two 
figures in the lower right hand panel, with typically Mohammedan 
long linen scarfs striped in red and gold. 


Height, 5 feet; length, 5 feet 10 inches 


Philippe from Burgundy [Felipe de Borgofa later made into Vigarni] came 
to Spain from France, where he had practised as an itinerant image-carver. 
He was employed in Burgos Cathedral in 1499. Later he worked in Toledo in 
conjunction with the great Spanish master Alonso de Berruguete in carving 
the magnificent choir stalls of the cathedral. Don Antonio Fonseca, one of 
the executors of Queen Isabella, selected him to make the retable for the 
Royal Chapel of Granada, one of the most beautiful of the period, 


247 


S)e 8h 


piece, and each pair of supports had to match as to grain; the naturel 


_ weaker ones have disappeared, and the few extant pieces represent 


LARGE ARAGONESE EXTENSION TABLE ~. Daten ie Century 


The making of extension tables in Spain was practically confined t 
one district—the Alto Aragon, stretching along the Pyrenean Maul : 
tains. ‘he table under consideration is very representative of the 
type—built of walnut, with heavy supporting ends consisting of 
a central post spirally carved and flanked by graceful consoles. The 
sole-piece under each end support is a heavy billet of wood with the 
extremities cut to a beak- shaped profile, while the stretcher down the 
center, or as it is more appropriately called in Spanish, the ‘ ‘bridge”, 
is composed of five turned bobbin spindles set in a heavy floor piece. 
The walnut top is of a single piece, and when the under slabs, sup- 
ported on trailers, are drawn out the table length is nearly doubled. 
The mechanism of the extension is most practical [as proven by 
the fact that to-day these old Spanish tables are serving as models: 
for Treproduction|..) Vv irate orce unrestored and in oxecl a 
condition. a 
Length, 6 feet 6 ee widen 2. tCCtro inches. 

Length, 11 feet 6 inches extended 


[See illustration] — 


WALNUT DANTESQUE CHAIR, ‘tan VELVET: Covnnine 
XVI Century 


A dignified example of the simpler type of caderae or hip: -joint chair, 
devoid of the Oriental incrustations that characterized Moorish and — 
Mudejar pieces, and ornamented only by a little carving at the arm- 3 
ends and the joint of the folding supports. To carefully select the — 
wood for the four curved and pivoting members was a task entrusted — 
only to a master furniture-emaker; each one had to be cut in one 


of the curve being such that a part of it falls to a cross grain with © 
no lateral strength, the wood had to be of the finest and exception- q 
ally well seasoned. Many such chairs were made prior to the seven- _ 
teenth century, for the form was always liked in Spain, but the — | 


the survival of the fittest. The present example is richly upholstered, — 
the back of pigeon-blood velvet ornamented by an escutcheon show- — 
ing a cardinal’s hat, and the seat tufted into little squares. Both 
gold and red silk fringe are used, and the nails are of bronze, fire- 
gilt. The chair is remarkably well preserved and has an admirable 
patine. . 


248 


ATAV], NOISNALXY ASINOOVAY TOUV] “LOE “ON 


ai . A : ™ | 
. P , ‘ 4 ; rn b , | ‘ 


395. Four COLOURED GLASS PANELS FROM A CHURCH ; 
IN TOLEDO Late XVI Cent ur’ 


These four panels form a complete window with arched top; 
have a blue background and two a crimson, and each is occ 
entirely by a single figure, the head set against a Gothic tracer 
grisaille. Among them St. Stephen, clad in a deep purple daln r 
is easily recognised by his attribute of the stones by which he suff 
martyrdom. In the other upper panel the richly clothed sair 
of princely rank, to judge by the ermine on his robes. On the low : 
panels are a bishop with crozier and a figure with a book, cla 
the short fur-trimmed mantle common to doctors in the Mi 
Ages. Spain offers a parallel case to Switzerland in its late acti 
in stained glass after the manufacture had practically died out in 
France and England. As late as 1560 Nicolas de Vergera and hi 3 
sons were employed to design and make the coloured glass windows 
for the aisles of Toledo Cathedral, to which these bear similarity 
The technique is French. 


Arched upper lights, 33 by 14 inches each 
Rectangular lower lights, 38 by 14 inches each 


[See illustration | oe 


250 


396. WaLNutT DANTESQUE CHAIR. COVERED WITH GREEN 

CuT VELVET | XVI Century 
A sober sillon de cadera [hip-joint armchair], the only ornament to > 
the gracefully curved frame being an unobtrusive inlay of boxwood _ 
at the joint and the arm-ends. The soft blue-green cut velvet cover- 
ing it is very beautiful, of minute diagonal pattern that preceded _ 
the large floral motifs of the late sixteenth century in Spain. The 
back strip is enhanced by a small embroidered escutcheon anda deep 
gold fringe, the same being used at the ends of the swung seat; the _ 
nails are richly modeled and gilded. Accompanying the chair is its ~ 
beautiful velvet cushion with tasseled corners. The chair frame is — 
solid and without repair. 


[See illustration | | ) 


a52 


of 


eo ee ies — =e fers S 
a! Tae dave a: Sn dates 


¥ 


SUMPTUOUS WALNUT ARMCHAIR WITH RuBY VELVET 
AND SILVER EMBROIDERY XVII Century 


This imposing chair has a solid wide frame with elaborate stretcher. 
The carving on this tells that the chair was designed for a bishop,—: 
mitre supported by amorini, who hold the cross and the crozier of 
ofice. No detail was overlooked to make a rich piece; the nail 
heads, measuring two by three inches, are of bronze elaborately 
wrought and fire-gilt. ‘The finials topping the back are of bronze 
wrapped with tasselled red silk. ‘The seat and beautifully embroid- 
ered back are finished with gold fringe above red silk. In contrast 
to the upholstery the frame is simple, the carving limited to the 
Renaissance stretcher. A dignified piece like this may have been spe- 
cially made to stand in a cathedral sacristy for the exclusive use of 


the bishop. 
[See illustration ] 


253 


398. 


399: 


a 
CARVED AND GILDED PLATERESQUE CABINET AVI Century 


A remarkable piece of furniture of two storys, the lower open in. 
the form of a console and the upper in the form of a cabinet with 
central niche and box compartment on each side. The lower piece 
has slender colonnettes in front and richly carved pilasters and panel- 
ing at the back, save at the center, where the panel is missing. The 
upper or cabinet portion has in the center a relief of the Resurrec- 
tion, gilded against a dark blue ground; this is flanked by little cup- 
boards which glow inside with a gold lining. The importance of 
this piece centers in the extraordinary quality of the carved decora- 
tion. It belongs to that busy Plateresque period when the most skil- 
ful wood-carvers were supplying furniture to churches and palaces. 
A high standard was set by such carvers as Berruguete, Covarrubias, 
Vigarni, etc., men who would have been justified in signing their 
products. ‘This is felt when one examines minutely the inexhaustible — 
wealth of design and the exquisite execution in the piece under con- 
sideration—the spirited frieze of the colonnettes, the fanciful panels 
of the portals, the agitated pilasters, and then the charming quiet 4 
little nude to the right of the niche. The frieze alone would be — 
worth much study; a cherub rides in a golden chariot, inscribed with 
AVE MARIA and drawn by a most fantastic lean-bodied griffin. A | 
weird winged monster bears between his claws a turreted castle 
carved in the round. Not satisfied with the monotonous tone of the — 
natural wood, the Spanish carver turned his work over to the — 
imaginero [image painter or estofador | to be richly gilded and poly- — 
chromed. The result was like a repoussé of beaten and gilded metal, — 
an achievement essentially Spanish. 4 


Herun 6 feet 3 inches ; Ahhh 4 feet 


iver illustration] » . 


ARAGONESE’ WALNUT EXTENSION TABLE XVI Century — 
The much sought Spanish extension tables are rare and are found s 
in one province only—the upper Aragon, in the foothills of the — 
Pyrenees. ‘They vary little in design, and the present example is 
thoroughly typical: a heavy spiral supporting column at each end 
flanked by a graceful console carved in the flat and serving not only 
as a decorative motif but as an additional brace to the top. Between 
the end supports, and placed in the middle so as to leave room for —_ 
[ Continued | ; 


254 


T 


4 


ABINE 


ye 
4 


RESQUE C 


‘ 


4 


ATI 


ED PI 


D 


4 


p GII 


No. 398. CARVED AN 


No. 399. Concluded 


400. 


if not actual provenience, of this piece will be at once recognized. 


the feet, is a structural stretcher of heavy ite -piece and spindles 
which form a sort of diminutive colonnade. The top is solid b 
light and easily manipulated, and when the under slabs are dr 
out the table length is nearly doubled. When closed or extended 
these old Aragonese tables display a nicety of balance, delicate yet 
substantial. This piece came originally from the Collection of Don 
Luis Plandiura of Barcelona, is unrestored and in excellent condition. 


Height, 2 feet 8 inches; length, 4 feet 6 inches ; width, 2 feet 8 inches 


Two-PIecE CARVED WALNUT CABINET ©. AVI Century 


This elaborately carved piece of furniture is divided into an upper 
and a lower body, that above having a drop-front to act as writing 
desk; the lower portion has double doors and is provided with two 
magnificently carved pulls to sustain the drop-front. ‘This sort of 4 
cabinet is called a Mueble de Carlos Quinto, meaning that it is one 
of, or resembles, the pieces the Emperor brought back from his 
North Italian campaign. ‘The upper half both on the front and : 
sides has richly carved pilasters and superimposed figures almost. in” | 
the round, and standing each on a corbel. Figures and pilaster are 
cut from one piece. Above is a salient frieze of amorini. Even 
more richly carved is the interior, divided off into five drawers and 
three little doors, these last highly architectonic with pedimented 
tops and niches to hold miniature figures. All of this portion is’ in 
an excellent state of preservation. The lower half [restored] has 
also two superimposed carved warriors on the face pilasters but the — 
sides are plain. On the cupboard portals are the applied arch and 
pilaster motif with flat carved spandrels. The Bolognese influence, — 


As might be expected, furniture like this is more often found in — 
Majorca and Catalonia than in Castile, owing to the general Medi- — 
terranean intercourse. . 

Height, 5 feet 4 inches 


[See illustration ] 


256 


Se RA te . ee 


VARANIS ABE PERE PE Pw, 
a rr eo y *% 


ee 


anne i Na 8 


a pay ve 


~ 


te 


No. 400. Two-PIECE CARVED WALNUT CABINET 


401. 


the furnittre of He SIX teenth century. ee an -agurenda 
the Moorish table box, the earliest examples naturally contir 
be quite Oriental j in decoration: The present piece on the « C 


teeming with interesting Oe ae figures, draseneue swags, m ‘ne 
conceived in the most decorative spirit. Nor did the work 
carver end there. The modelings dividing the various secti 
most beautifully carved at minute scale, underside as well as - 
with egg-and-dart and leaf patterns. On the Bee of loteade 


base, the traditional support for varguefos. ee iis fe 
firm it was always constructed with iron turn- “screws at the sy 


[See illustration ] 


258 


. 


: a he es 


0 ON TRESTLE STAND 


~ 


ARGUEN 


No. 401. WALNUT V 


4025. 


BAROQUE OPEN Face VARGUENO AND TaBLE = AVIT Cent ury 


Imposing example of an open face varguefo with its original t ble 
support. ‘The cabinet face is a tour de force of polychrome decora- 
tion in the Baroque style. .The central motif [on which varguei 
makers always lavished their attention] simulates a sevente 
century portal with entrance, flanking columns, and pedimented 
overhead. It is a logical expression, for behind is revealed a 
plete chapel in miniature, with twisted and gilded columns, c 
panels, and a painted frieze and ceiling above. The remainder of 
the varguefio is set out with drawers, four to a side, richly deco 
in gold and polychrome. A brilliant red forms the field o 
colour scheme, with ivory inlay decorated in black, and the 
puente over the columns carrying a tentative pattern in. white. 
table support is of walnut with nicely turned legs and gracef 
curved bracing irons. Vargueno and table a are in excellent condi 
and unrestored. | : 

Height, 4 feet 10 inches ; width, 3 feet 8 inches 


[See illustration |. 


260 


iS am 
ND) 


we aS 


> 


Ex 
- 


ST 
i a 
a 2 


? 


> rie tee 


————— 


cl ae mer 


No. 402. BAROQUE OpeN FACE VARGUENO AND TABLE 


Dy 

403. Fotpinc Camp TaBLe oF THE Emperor CHarLes V wITH | 
_ Repoussé Top or Iratian WorKMANSHIP = AVI Cent 
In its general form the table corresponds to what is known in § 
as a camilla or cover for the brazier of hot coals. Once draw 
to the table the side curtains are used to cover one’s lap and le 
thus keep the lower members warm; the hands, while one is wr 
or reading, are warmed by contact with the table top. In this 
the curtains are of antique blue velvet, of a rare shade, and r hl 
embroidered in the center with gold and silk thread. One of » 
central panels is larger than the rest and bears the arms of Ca 
with the motto AVE MARIA. The curtains are clasped at the cor 
by gold thread frogs and are edged with gold galloon. The si 
plated bronze top has a border in relief representing mytholo; 
scenes, with traces of gold. The workmanship is similar to that 
an armorer. According to the tradition of the owner this : 
was a gift to the Emperor Charles V, who used it during his cz 
paigns. It is a unique specimen. Ona modern steel base. 


31 inches high; 34 inches s 


[See illustration ] 


404. SET OF PAINTED AND GILDED CATALAN CHAIRS ; 


Consisting of two armchairs and six side chairs forming a dining 
room set. The Catalan chair is distinctive from all others in Spain 
and seems related more to Venice; instead of having a sober walnut 
tone, it has gay colors and reflects the spirit of the Mediterranean. 
These are solidly built of pine, covered with yeso and painted a 
bright red further enhanced by gold. The seats are of rush andy 
covered with quilted mats of red silk. [The chairs are sound and 
unrestored save for some superficial touching-up of the gold and 
paint. | 


ail 
- 


i 


262 


No. 403. Fotpinc Camp TABLE OF THE EMPEROR CHARLES V 


[Top illustrated | 


405. WALNUT CARRYING CHAIR 


The forerunner of the sedan chair—an ordinary Spanish 3 
fitted with curtains to screen the occupant, with a ‘sliding panel ; 
bottom to support the feet, and iron grips at the sides 
which the carriers’ poles could pass. Spiral [or saloménico 
ions of brass with nicely turned bases and finials support th 
The hangings are a most. pleasing combination of silve 
yellow brocatelle, mauve cut velvet and gold and mauve, th 
terials reinforced at the seat, back and top by leather. 

items that go towards finishing—fringes, tassels, galloons | 
heads—are thoroughly harmonious. Visitors to the rong 
ments of the Escorial will recall a similar chair that was 1 
Philip II, to carry him daily to the vantage point farther ie 
Sierra whence he yer the progress of his colossal buildin 


‘Height, 4 feet 10 


[See tHustration) 9: ae 


264 


No. 


4 ‘ ~ ag 

r ” e 

; ) 

| | 

: | 

P a 
ay rs 

3 PS RA a Sar CEN, pe Is AOS ; 

aa 


Seb OL LO LO LOL LOLOL IES 


405. WALNUT CARRYING CHAIR 


406. FLAMBOYANT CARVED AND GILDED CHEST 


407. 


In Spain the Flamboyant Gothic period is designated as the esti 
los Reyes Catélicos—of the Catholic Monarchs, meaning Ferd 
and Isabella. The chest or arcon here illustrated is a sumpt 
example both in form and decoration. A box with truncated g 
top and standing on a moulded and battened base. Instead of 
lid lifting, the front opens, door-like. Front and ends are se 
in bays architecturally treated, separated by diminutive butt 
topped by crocketed pinnacles; above these, around the to] 
little gargoyle forms set upright. Each bay holds a carved pointed 
arch and under it a filigree of plant ornament. One panel shows 
the pomegranate [Ja granada], the particular emblem of Ferdinanc 
and Isabella after their conquest of Granada; another shows 
pigs feeding from the Estremefan acorn; and in another are thi 
and birds. Over the cavetto mould of the base there is a ca 
tendril a jour. The top is canted on all four sides to meet a fle t 
panel, now almost devoid of paint. With the exception of a sof ie 
blue behind the pierced vine ornament the whole surface is covered 
with heavy gilt, etched. Inside the decoration consists of a blue. 
and gold pattern on the ends and heavy gilt beautifully etched on 
the underside of the lid. Considering the delicacy and the exposed. 
position of the carvings, this piece is extraordinarily well preserved. 
It stands on a plinth covered with old damask and brocatelle. : 


Height, 2 feet 4 inches; length, 4 feet 4 inches 


[See illustration | 


Low WALNUT DANTESQUE CHAIR AV Century 


One of the oldest and finest chairs from the Almenas house, and 
retaining its original back and seat of stamped leather. It differs 
from No. 365 in having less inlay, the incrustations being applied 
only at the arm ends and the pivot joint below the seat. Both num- 
bers are modifications of the allover inlay chair that was held in such © 
high favour by the Moors, and of which a fine example is to be seen 
in the Archaeological Museum of Madrid. Not only the greater 
restraint of adornment, but also the Gothic trefoil formed by thea 
lower supports of the frame, show that the Moorish artizan was 
working for a Christian. The chair has a very beautiful patine and is _ 
in perfect state of preservation. A handsome green velvet oo 
accompanies the chair. 


B66! 


T CARVED AND GILDED CHEST 


No. 406. FLAMBOYAN 


“oe » lt “7. ew + ie Ss ‘i rl iva 
: : a Se A aes ee ee 


408. VARGUENO WITH CUPBOARD BASE 
The vargueno with let-down lid showing a gilded 7 


made for the Sen [an important detail]. The Ci 
with the original decorative iron plaques, lock-plate. and 1 
and bolts. The plaques are perforated in design and to 
greater contrast are underlaid with honey-coloured vely 
interior of the cabinet is richly decorated without being 
ornate. It is set out with the customary drawers and com uF 
the ste tai ae. eee all edged with i ivory. 


nanels pe, off in gold with bone insets at ie intersect 
drawer-pulls are fire gilt and in the form of cockle shells. 
the intricate cabinet work not a piece of the interior is mi 
has it ever been restored. The taquillon or cupboard base is of 
classic type with paneled drawers above and cupboards below. 
sides of the cupboard are paneled and the corner mo ued 
the face. <a 
‘Height, 5 Pa ae 3 feet 6 


[See illustration ]/. 7) 


268 


— a 7 RARER RRR TR NER AUER, ESTES AT OOS ST BRL OOOH enncmanonensigpn 


Beer ee eee 


PRI NE RANE FM OBE LLL POG ISS Sit RTS eat AS 


No. 408. VARGUENO WITH CUPBOARD BASE 


CEA RE ge A et A a me NR TERE RE AN, Ai NR NRA a CO ee ne 


Se cee hee 


drawers. While the varguefo form is Spanish, ‘hes ce ? 
adorns the interior is more Italian in sentiment. Likewise It 
the Palladian motif on the little portals, so seldom usé 
architecture that one could name few examples outside 
Palladian facade of the Town Hall of Baeza. In the centr 
drawer is a lunette with an exquisitely carved little bust in 
to serve as a drawer-pull, and in the frame, armed wa 
astride prancing horses, while in the smaller arches to th 
charming little cupids at play.. Nothing more perfect t 
diminutive compositions could be imagined, and every de 
locks and so forth, maintains the high standard of carving. 
inside of the drop-front is inlaid with various woods. Th 
stands on what was once a typical Spanish vargueno trest 
which at some remote time underwent an alteration to sel 
present purpose. © Taha : 
| Width, 7 fede 3 
[See illustration | sone, 


270 


ONANDYVA LANTIVAA GHANVD ATHOIY ‘60h ‘on 


An important example of Ninian or Wiootide Christiaan 
and one of the choice pieces of the collection. The che 


an Oriental Lattice pattern, and the same sort of discs err ting 
the drop handles at each end of the box, would make the 
sufficiently remarkable as a survival of fifteenth century Sp 
furniture; but in addition the interior, as was the case witl 
Moorish dwelling itself, was meant to be by tar thesricicm Lc g, 
Gothic strap hinges end in the disc motif, and the same disc lars rer 
and backed by red velvet is placed in the center of the lid; the rest. 
of the surface is inlaid with boxwood and ebony plaques studded 
with sizable ivory beads. On the face of the little drawers there is 
the same treatment. In every way this is a unique and beautiful 
specimen of Spanish art. [he trestle stand which serves admirably 
to support it is a century later in make. Sein a 


Height, 3 feet 3 inches; Rican 2 feet 9 inches 


[See illustration | 


272 


syonds 


' 
1 


ast Leas 


“p ae wi 


= 


43 Sule 


No. 410. WALNUT CHEST-CABINET ON [TRESTLE STAND 


411. SET OF FouR ARMCHAIRS COVERED WITH : ol 


EMBROIDERED VELVET XVII Century — 
Four splendid chairs almost identical with the four numbered 413. — 
The walnut frames are of the traditional frailero cut and devoid — 
of carving, the wood being of a uniformly light tone rare in walnut. 
Silk velvet of rich deep red, and in excellent condition, forms the 
covering which appears to have needed no mending since put there 
in the seventeenth century. Panels of gold and silk embroidery 
combined with appliqué ornament the backs. ‘The fire-gilt nail- 
heads, all alike, are of a double crescent pattern not at all common; 
in addition the velvet is finished off by heavy silk and gold fringe 
from the ancient Toledo fabrica which the Spanish Government is — 
now trying to resuscitate. To find four chairs alike in every detail, — 
unrestored and promising a century or more of service, is re- 
markable. 


[See illustration ] 


274 


Parr WALNUT ARMCHAIRS COVERED WITH 
SALMON VELVET Late XVI Century 


These sumptuous chairs are among the most important of their type, 
and prove how confident the Spanish furniture craftsman was of 
his art; for though the coverings are nothing less than gorgeous, 
the frame is the traditionally severe frailero type devoid of 
ornament. Only the perforated splats came in for any attention 
from the carver and these are simple. The covering is the rarest 
and most sought-for tone of old velvet, softened by age but beauti- 
fully preserved. The chair-backs are richly embroidered in gold 
and silver in themes of delicate leaves and tendrils with urns and 
flowers in the center. In common with all chairs of the period, 
the velvet is laid over leather seats and both materials fastened 
by decorative nails; in this case the nailheads are lozened-shaped 
and heavily gilt. Both chairs are in excellent condition and unre- 
stored. 
[See illustration ] 


275 


413. 


414. 


SET OF Four WALNUT ARMCHAIRS COVERED WITH a 

EMBROIDERED VELVET jb. £224 e 
These four magnificent armchairs make a companion set to Nu 
411, the only difference being that the back of the frame is 
7a her core large embroidered velvet panel in gold, coloure 
and appliqué covers the entire chair back and is featured 
cartouche enclosing a vase of flowers. ‘These panels were ord 
to measure for the chairs. ; , S Ss 
Height, 3 fee 
[See illustration | 


ImposING WALNUT TABLE | . et Se Cents 


Unusual in size, this table has richly carved legs and two fork do 
“hairpin” bracing irons. The top, in one single piece of over for 
square feet, must have come from the province of Burgos, for th 
only can be found walnut trees of such extraordinary girth. 

design of the table, on the other hand, has none of the severi 
Burgalese furniture, but suggests rather that it was made in Ara 
or Catalonia. The legs are massive yet of graceful curve 
terminate in a powerful-looking claw and ball. Equally hands 
is the carved and slightly arched stretcher across each end. 
was common in Spanish furniture, the end-to-end bracing is ace 
plished by a pair of rigid irons instead of a longitudinal stretc 
of wood. It will be readily seen that this arrangement, with 
turn-buckle screws, greatly facilitated the dismounting of large 
tables, an exigency that had to be provided for in a piece of this 
size. [he single slab of walnut is almost unique in the whole range 
of Spanish tables. It, in conjunction with the beautiful design and 
carving of the legs, places this piece of furniture in a class by itself. 


Top: 4 feet 5 inches by 1o feet 6 inches 


276 


ET 


ELV 


No. 413. SET oF FouR ARMCHAIRS COVERED WITH EMBROIDERED V 


_ 


Ars. 


WALNuT CHoIR THRONE OF A BISHOP OR ABBOT 
By Doncel, Leon, XVI Century 


This superb Renaissance stall consists of a broad seat and an i 
posing canopy upheld by beautifully carved spindles set far bac 
the arms of the seat. On the front corners of the canopy are stand- 
ing cherubs and between them is the typical Italian motif of a 
medallion head held by two finely modelled nude figures; back of 
this is a large free standing wooden urn. The miserere or seat-rest 
consists of the mask of a lion. The lofty back of the stall is a fine 
piece of walnut set off into a round arch below and two smalle . 
ones above. On the arch moulding is inscribed DOMINIE MISERERE © 
MEI. The arch frames a winged cherub head from the neck — of 
which is a ribbon and small cartouche showing the lions and castles, 
emblems of the united kingdoms of Leon and Castile. In the i 
spandrels of this arch are the monograms of Jesus and Mary—1Hs. 
and MA. In the smaller upper arches are the figures of Saint 
Michael to the left and an Apostle or Doctor of the Church to the 
right, the latter pointing to the words spes MEA. ‘Two square | 
Renaissance coffers with pendentifs fill the soffit of the canopy. It— 
is to be noted that the piece is finished on the sides showing that it 
stood detached from the stalls of lesser dignitaries. 
Height, 11 feet 
Pedro Doncel, author of this piece, was one of the brilliant group of 


Renaissance carvers who worked on the Monastery of San Marcos in Leon = 
in the early XVI century. mS 


[See illustration ] 


278 


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No. 415. WALNUT CHOIR THRONE 


416. 


-mounted by a rich cornice and openwork cresting. The piece i 


LaTEeE GOTHIC BisHoRs CHOIR STALL WITH CANOPY 
REZ cca vy 


A lofty imposing seal of rich toned alntee its canopy upheld by 
slender colonnettes, carved in overlapping pointed leaves and ui a 
from the extremity of the three-lobed arms. The miserere 
rest on the underside of the seat for the priest while standing, 
carved in the form of a kneeling camel, and where the sides of t : 
seat curve back a crouching little beast is sculptured. The lofty 
back is framed on-each side by Gothic scored pilasters with Gothic : 
finials. The back is a single handsome piece of walnut. In its 
lower half, under a round arch, is the half-length figure of Santa i 
Inez [Agnes] with her emblem the lamb and her martyr’ s palm, 
the background having been cut back to leave the body in relief, 
From the moulded edge of the arch that frames her, little spr 
of fruit have been cut free and hang down. Above is a second ar 
flat, supporting a panel of vine ornament. The curving undersi 
or ceiling of the canopy simulates a Gothic ribbed vault, which is s 


illustrated in Spanish Interiors, by Byne and Stapley, Vol. 11, Plae 
108. This stall came from the Valladolid region where the chard ‘ 
and monasteries vied with each other in securing splendid sillerias, a 
or stalls, and where the best wood- carvers never failed” tor, find 

employment. a 


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[See illustration | 


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417. Four CARVED COLUMNS AND CORNICE FROM THE 
ALBATERA PALACE Near Alicante, XVI Cena y 


These important architectural members are from a dismantled — 
country palace of the Marqueses de Dos Aguas, a branch of that ; 
famous Borja family which on several occasions supplied an occu- — 
pant for the papal throne. A later residence of the Marqueses de 
Dos Aguas is the well-known town house in Valencia with its 
fantastic rococo portal dating from the eighteenth century. The 
Albatera columns are carved in pino encarnado, red Pyrenean pine, 
a material whose richness as a medium for carving was highly ap- — 
preciated by the Plateresque artists. Columns are of the Corin- — 
thian order, of classic proportions, but with the Spanish innovation ‘ 
of a shaft carved from top to bottom, in low and high relief. 
Bouncing amorini spring from delicate tendrils which flower out 
into cartouches and elegant little masks and busts. These com- 
positions, always highly decorative, seem to have flowed unpre- 
meditated; principal motifs never center under one another; there 
are no prearranged halves to a motif. Symmetry, in the sense of 
inflexibility, did not appeal to the Plateresque artizan; he preferred 
freedom from fixed rules, but he never failed to endow the ensemble 
with a satisfying harmony. Everywhere there is rhythmic move- 
ment so plastic in quality that it might be described as the sort of 
ornament one models but does not draw, which is another way of 
saying that it is not strictly orthodox Italian ornament. Left in ~ 
the natural wood, these columns and frieze at once proclaim that 
their destination was domestic and not ecclesiastic. [hey are not 
to be confused with the twisted and gilded fragments taken from 
seventeenth century retables so much sought by architects to be used 
for built-in features. ‘They have a finish that could never be — 
obtained in this country except at fabulous expense; and perhaps 
not even at that. Fortunately sand-paper did not exist when they were 
made; the surface was covered with virgin wax and left to dry, then 
they were vigorously rubbed with stubble brushes of stiff grass 
and later buffeted, not for hours but for days and weeks, with a : 
coarse cloth to bring out the high lights; thus it is that the little : 
nudes take on a play of light and shade that almost imparts a 
quality of palpitating flesh. Columns and cornice are important 
and choice architectural specimens of their period. The number 
includes a charming little over-mantel of two delicate pilasters and 
their capitals, with two end panels carved with figures. 

Total height, 7 feet 8 inches 


i 
t 


[See illustration | 


282 


| a 
| 
|Z 
i a 


No. 417. Four CARVED COLUMNS AND CORNICE 


[Two columns illustrated |] 


An Os 


Pair CARVED Doors AND REVEAL PILASTERS XVI Century 


A magnificent portal composed of double doors with their accom . 
panying side pilasters and overhead panel, all richly carved. 
Renaissance art when it penetrated into Spanish architecture was 
first adopted for the decorative treatment of sculptured frames 
for doors and windows. By the end of the first third of the six- 
teenth century the Italian motifs had been espanolized and more — 
vigorously interpreted. They became a passion with Spanish sculp- | 
tors who achieved supreme dexterity i in executing this type of detail. 
The wood was almost invariably pine just as for furniture the wood | 
was almost invariably walnut. Pine interiors of soft lustrous finish | 
can still be seen intact in famous sixteenth century edifices such as — 
the Archiepiscopal Palace of Alcala or the Palace of the Zufigas — 
at Penaranda de Duero. The doors in question are designed wit 
a group of three central vertical panels, a square one below and a 
horizontal above. ‘The entire panel surface is carved, each group 
distinct in theme. In the lowest panel for instance are masks an 
equine heads that trail off into graceful scrolls. In the centre are — 
arabesques more like the Italian, growing out of a central stem, but — 
including in the design an occasional head in higher relief whose — 
expression is extraordinarily realistic. “The crowning panel has two q 
fantastic animals face to face; dragons with yawning mouths and 

strained muscles. Equally varied is the design of the reveal nancial 

garlands and tendrils almost flat interrupted five times in the course | 
of their height by salient heads. The Plateresque carvers were 
specially skilful in introducing a bold shadow-casting spot like these 
heads on a low ground. Perfectly preserved and unrestored, this —__ 
large double door is both artistically and intrinsically of great im- 
portance as a complete motif of Plateresque ornamentation. . | 


Each: Height, 9 feet 4 inches; width, 2 feet 2 inches E 3 
Width of ‘several panels, 10 inches 


imei 


[See illustration | 


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7eED Doors AND REVEAL PILASTERS 


No. 418. Parr CAR\ 


ie 


CaRvED Pine : oe R 


is a ane sauarabe Re a profile. ete 7 
separated by a cartouche. Around the eee 1 


Dettaniils height, the deers are > ne “deep t to 
shadow. Especially the rinceau carving I has a ine swing about it 


Length, 7 feet 6 inches and 2 feet Tespe ively; width, 2214 i 


236 


VUALVATY AOVIVG AHL WOAA SXOOG-AAAG ANI AYAAVD “61% “ON 


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420. Pair WALNUT CABINETS WITH PLATERESQUE 


COLONNETTES By Valdevira, XVI Century ; 
These two well-designed stands comprise twelve exquisitely carved — 
Plateresque colonnettes by Valdevira, one with his initials; also four — 
fluted and twenty engaged of the same type all in the natural wood; — 
the backing is of fine old green velvet, and the shelves and framing 
of the pieces are new. What most interests us here is the con- 
tribution of the famous architect and sculptor Valdevira. Miniature 
columns of this sort are known as columnas de retablo, and un- ; 
doubtedly these, the simpler ones as well as the carved once formed ~ 
part of some magnificent altarpiece, perhaps in the very cathedral — 
of Jaén itself, where Valdevira worked. Here we have twelve — 
pieces just short of two feet in height carved with an infinite variety © 
of masks, sirens, weird animals or bichos partly in the round, partly _ 
in relief, their lower extremities terminating in fish tails, branches, — q 
capricious turns and twists, always combining in graceful composi- __ 
tions agitated, imaginative, far removed from the flat restful orna- 
ment of the country where Andrés is supposed to have first studied _ 
his art. In other words, once returned to Spain, his racial tendency — 
asserted itself. Even though the work here shown did not bear his 
initials, anyone familiar with Andalusian Plateresque of the latter 
part of the first half of the sixteenth century would probably ascribe 
it to him. 


Note: Andrés de Valdevira [also written Vandelvira], architect and orna- — 
mentalist, was a follower of Diego de Siloe to whom Granada owes several ‘ea 
Renaissance palaces. Valdevira was active to the north of Granada chiefly 
in Jaén, where he was architect of the Renaissance cathedral begun in 
1532, and in Ubeda, where he built the church of San Salvador with its hand- = 
some west facade and transept portals in the rich Granadine manner. His 
carved ornament is characterized by the rhythmic movement in the arabesques 
and the delicacy of the small medallions and alto relievos introduced. — 


Height, 8 feet 6 inches; width, 3 feet 4 inches 


_ [See illustration | 


288 


No. 420. PAIR WALNUT CABINETS WITH PLATERESQUE COLONNETTES 
[Four colonnettes illustrated ] 


MS SES, 


A210 


LaTE GOTHIC CHIMNEY-PIECE OF STONE 
AND MARBLE Early XVI Century 


As Spanish palaces were rarely equipped with chimneys this is a ~ 
rare piece. In France or England, and dating from the early six- 
teenth century, it would have been in full Renaissance, but Spain was 
always backward and tenacious of Gothic. The piece is composed — 
of a beautifully carved lintel resting on stocky columns of greyish 
marble; both lintel and columns stand well free of the wall, for whicn 4 
reason there is a carved return to the lintel. The mouldings — 
throughout are of Gothic profile and the column capitals and bases — 
indicate but little knowledge of the Renaissance. It is when we come ~ 
to study the frieze that the first tentative signs of the new style are — 
visible; and incidentally the hand of Egas, who is regarded in Spain 
as the first to practise the arte Romano as it was then called. In the 
amorini supporting the central escutcheon one sees close affiliation __ 
with the lintel of the famous portal of the Hospital de Vera Cruz — 
in Toledo. The material for the lintel, capitals and bases, is a fine- 
grained limestone; the column shafts of marble. It is to be regretted 
that the escutcheons of the capitals suffered mutilation [probably 
at the order of the proud family, reduced in circumstances, who 
sold it]. 
Height, 6 feet 6 inches; width, 7 feet 3 inches 
Enrique de Egas was appointed by Ferdinand and Isabella to work on the 
Royal Hospitals of Toledo, Santiago, and Granada. He also built their 
Mausoleum, the Royal Chapel of Granada. He was the first of the late Gothic =. 
architects to adopt the Italian Renaissance style and his influence may be seen 4 


in a number of Toledo monuments. He died in 1534; Maestro Mayor of Toledo 
Cathedral. 


[See illustration | 


290 : 


No. 421. Late GoTuic CHIMNEY-PIECE OF STONE AND MARBLE 


oe 


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ee 
a 


J eee 
Cae 


a 


xX xy ft 


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a 


MupDEJAR PAINTED Woop CEILING FROM ety 
TERUEL, ARAGON XIV-XV_ Century 
This highly important ceiling was one of the mediaeval treas- 
ures of the province of Aragon. Only the extreme dilapidation of 
the old palace made its sale and transfer to Madrid possible. In 
the reérection much of the original beam construction had to be 
abandoned as unadaptable, but the valuable painted panels were 
preserved intact; likewise a number of frieze-boards and carved 
zapatas or brackets. The carpentry construction of the ceiling is 
interesting. To minimize warping, the painted panels were treated 
as small pictures to be set within a frame; the frame being the series 
of openings with beveled edges and decorated with gold incised 
rosettes [to-day these frames are modern copies of the orig- 
inal]. The system is obviously an improvement over the other 
[Continued] 
[See illustration | 


292 


Sk ed 


eS OTe ere os 


No. 422. Mupgeyar PAINTED Woop CEILING 


No. 422. Concluded : 3 ; 
more often practised by the Mudejares of using one board, very 
thick, and cutting back the area to be painted. The seventy-eight 
panels, fourteen of them made into the bench [No. 378], are of 
very great artistic and historic value, whether viewed as portion 
of a medieval ceiling or as a collection of primitive paintings. Per - 
fectly preserved, they are decorated in tempera, the wood having 
first been covered with gesso which has been rubbed to ivory smooth- 
ness before applying the paint. Ihe background is varied between 
sienna and warm neutral green, and the colours are still fresh. 
With but few exceptions the panels contain a single figure each, ’ 
the whole series making an astounding record of the people ¢ and 
costumes of the period—saints, prophets, bishops, kings, queens, 
buffoons etc. Certain subjects like the jongleurs can be recognized | 
as following closely the texts of the fourteenth century romances, — 
while the humorous scenes, such as that of the mice hanging — 
their enemy the cat [seen also in the cloister of ‘Tarragona — 
Cathedral J, are taken from popular legends and from daily life. — 
It is no exaggeration to say that no Aragonese ceiling as antiques a 
and beautiful as this has ever come out of Spain, and as 
for the finest example remaining there, the late fourteenth century — 
ceiling of ‘Teruel Cathedral, it 1s practically impossible to amie 
except by scrambling on top of the vaults that were placed low over 
the nave in the seventeenth century. ‘The painted wooden ceiling 
was in fact peculiar to Spain, the only thing approximating it in| 
style having been done in Sicily, and also by Moorish artizans, dur- ; 
ing the Catalan-Aragonese occupation. The present example is most _ 
important in the study of Spanish panel painting of the Aragonese 
school, since the Castilian example at Santo Domingo de Silos of 
the fifteenth century, and the fragments in the Archaeological Muse- 
um of Madrid, are different in type. All are described in Spanish 
Decorated WV ooden Ceilings by Byne and Stapley, Hispanic Society 
of America. , 


ea 


Panels, 10 by 26 inches 
[See illustration | 


294 


: 
| 


es 


423. 


garlands, etc. 


TuReE Sets or Winpow Reveats with Nicues X/’/ Century 


These carved pine reveals came from the Palace of Almansa near 
Valencia. In character and epoch they correspond to the other 
structural woodwork shown in the collection. Composed in three 
tiers, the lower with-simple pilasters and carved panels, the upper 
two of slender engaged columns with niches between, the niches be- 
ing lined with old red velvet. Carving throughout is freely executed, 
the artizan having been unhampered by plaster casts or other men’s 
sketches to copy. With his motifs at his finger ends he moved 
from panel to panel, from room to room, from palace to palace, 
with nothing more than his tools and a desire for fresh surfaces to 
carve. ‘The ornamentation here is in excellent condition and the 
motifs are of infinite variety—winged dragons, harpies, masks, 


Height, 10 feet 4 inches; width, 2 feet 


CARVED WOODEN CEILING AND- CorRNICE Toledo, XIV Century 


A splendid example of a Renaissance pine ceiling in the style of 
those in the Convento de Santa Maria de la Sisla, Toledo, and in 
the Archiepiscopal Palace at Alcala. The pine, valued for its trans- 
parent colour when oiled, came from the forests of Cuenca and was 
then, as now, floated down the Tagus to Toledo. The ceiling 1s 
set out in fifty-five lozenge-shaped panels, but with the peculiarity 
that each two sides of the coffer are set normal to the length of the 
salon, thus facilitating the construction. The coffers are deeply 
moulded resulting in great play of light and shade, and the moulds 
are ornamented with such classic themes as the denticulated course, 
the ball and button and the leaf mould. In the center of each coffer 
is an oblique leaf motif cut a jour and with a little pendant in the 
middle. The supporting frieze is richly moulded at bold scale and 
carved with dentils, spool and bobbin, and acanthus leaf cyma. In 
the final treatment of carved pine ceilings only the purest wax is 
employed; any substitute would result in a turbidness that robs the 
wood of its inherent quality. This treatment, considering the cost 
of the wax and the labor, is an expensive one; the wax is boiled to a 
liquid consistency, applied with a brush, allowed to set twenty-four 
hours, and then vigorously and indefinitely rubbed; this finish plays 
a most important part in embellishing and preserving the wood. 
The ceiling is in excellent condition. 

Length, 30 feet; width, 16 feet 6 inches 


295 


aoe 


MAGNIFICENT CARVED PINE FRIEZE FROM ALBATERA 


the Albatera Palace, twenty-five miles from Alicante. In bold ~~ 
carving on a monumental scale it would be hard to find anything 
superior to it. The frieze consists of a series of panels twenty 
inches wide; the theme covering them is continuous, that of a vigor- 
ously executed rinceau which embraces motif after motif as if ina _ 
mad chase—winged dragons, eagles, cupids, armorial bearings, 
plunging bulls. A truly grandiose ensemble, with no trivial note in ~ 
it. Not a passage that indicates a slowing down of the maestro’s _ 
unbounded enthusiasm. In this it is essentially Spanish, for an Italian 
carver would have introduced some tranquil passage; docile cupids 
for instance, with fat folded legs. No small part of the beauty of 
the frieze is its transparent patine. Pound after pound of golden 
virgin wax was boiled down and rubbed into the wood day after g 
day for weeks by the young Valencian apprentices. Only endless 4 
rubbing could produce such brilliancy in a wood as soft as pine. One — 
would give a great deal to know who was the inspired maestro who 
designed and carved the architectural wood-work at Albatera, but 
outside of cathedral archives there is no trace of a name, and even 7~ 
these are very incomplete; no other records of workmen seem to 
have been kept, to the despair of the present day students. 

56 running feet 


[See illustration | 


296 


FRIEZE 


CARVED PINE 


MAGNIFICENT 


No. 425. 


Ten see ao | Be oe 


TAPESTRIES 


~ 


426. (cones. REPRESENTING ‘Crnehkune Preece IN i 


- ‘4 F ' 


LANDSCAPE. Flemish, Second Half of the XVII | ¢ 


The scene is laid in the open, showing, against a crea 


een. be 


trees in brownish grey. with leaves in yellow, ca 


with leafage and flowers. All over the ‘urea child 
ing, dressed in blue, pink, yellow, cream and ma 
running, playing tennis, gathering flowers, etc., full oO 
tasy in their varied attitudes and costumes and witl 
feathered hats. A narrow border formed of bouqu 
against a ground composed of Sebintes in pasha yells 
frames the tapestry. 
“Height, 9 feet 3 Ys inches 

The tapestry is most decorative, with its bright soles ad th 
titudes of the children so full of life and freshness. The subject | 


children was already very popular i in the Renaissance period and its: Pe 


- contributed to this epulins with their cartoons “of Playing Children 
duced again and again in ee of the time. The cartoon of th ae 


[See ‘Nustration? . ee eS 2 oo ¥ 


298 


AULSAdV J, HSUNITY ‘9tF ‘ON 


427 


FLEMISH TAPESTRY, CHRIST APPEARING TO 


Mary MAGDALENE | ited Early XVI Century 4 


This weaving in wool and silk of the Noli Me Tangere episode a 


is signed on the outer galloon with the mark of Wilhelm Panne- _ 
maker; also with the double B of Brussels-Brabant. It was this 
master weaver of Brussels, it will be recalled, whom the Emperor 
Charles V summoned to accompany him on his Tunis Campaign — 
with a view to perpetuating his exploits in a series of hangings. Thess 
‘‘Conquest of Tunis’’ tapestries still figure in the royal collection of 
Madrid and are among its most treasured possessions. They were z 
woven in Granada of the finest wool and silk, some eighty workmen i 


having been summoned from Flanders. 


In subject and composition the Almenas hanging is a version of 
the late Gothic tapestry from the Baron Spitzer collection, which — 
was acquired by M. A. Ryerson, Esq., of Chicago. In both, the 
Christ leans on a gardener’s shovel as he appears to Mary Magda- 
lene after the Entombment, she kneeling and opening her jar of oint- — 
ment. Each has a narrow border, but in the present case it is of very 


precisely spaced Renaissance clusters of fruit and leaves, changing at 


the top to a festoon of swags; quite Gothic on the other hand is the — 


eo i ee rr ‘ . fn ha a r : . 
ia Sent ae gt sl seis » pgs i Si i a . > y 
Pat: ee ae ieee tne ata bY 2 ESS rl) ae dais ie eat Cos ' y 
é Pane) A se rahe a ee ' 
’ ee a ae eee aaa tl — ; 
ph clei a1 = = _ 7 ——— as 7 


walled and turreted city of Emmaus in the distance, likewise the —__ 


enveloped figures of the disciples traveling towards it. 


The Risen Savior wears a red mantle and cap and stands bes 


side a garden of flowering plants railed in by little classic colonnettes. 
The Magdalene also wears a rich red mantle over a faded blue 
gown and behind her is the tomb with the stone rolled away. Silk 
has been plentifully used in the weaving, and the tonality is of a 
beautiful rich gold towards the bottom, changing to pale green for 
the distance, the whole vivified by the red of the garments. 

The richly carved and gilded canopy and frame of the tapestry 
is an exceptionally fine piece of Gothic work of the period of the 
Catholic Sovereigns. At the sides are attenuated colonnettes sur- 
mounted by pinnacles and crockets. The canopy proper is magnifi- 
cently rich, with intertwining arches combined with delicate tracery 
and flamboyant foliations. ‘The base-piece is intricately carved and 
perforated, the theme consisting of alternating groups of animals 
and vegetation. An important piece among the many fine canopies 
the collection presents. 

Height, 7 feet 2 inches; length, 9 feet 


300 


Tha: 


~~ ewe 
A EY Se a eee we 


1% 


aaa 
We al See ee 


oN E E He TIT AR 


Pa emiens: 


hoes. 
od 

Sars ees ; 
Steal Gey fA Sere 


No. 427. FLEMIsH TAPESTRY 


428. Two Tapestry BORDERS * a a enth: Early XVII Cen 
Belonging to the series of “Pastor Fido” Pues Nos. 429: 
inclusive. 


"Height; 9 feet “width, 1 foot 11% i 


[See illustration] 


eee 


429-432. A SeT or Four Tapestries REPRESENTING SCENES FR 
“PASTOR. PIp@iet French, Early XVII Cent: 

“I Pastor Fido” was a tragi-comedy by J. B. Guarini in great vogue by ee 

the end of the sixteenth century. Soon- tapestries - illustrated the principal — 


episodes of “Pastor Fido,” a great number of times RE on the looms ; 
of the ateliers of Paris and elsewhere. . 


(Conti tied = 


302 


SUACUOG AULISAMV], OMY, “Str “ON 


ae FRENCH Aner ate, ee 


ee ae 
i? 
4 


co _Fipo”” SERIES Tig eh 


The. scene 1s aid a again. a fattlsgape! b; 
being seen at the right, Silvio’s comp : 
, _ hunt of the boar is taking ie. in the far ‘ 
: This eer! has no border. Sen. he 
orcs i “Heigh 8 
[Companion to a followin 
“FSee ‘Stuserstiongee 
: | 
304 


SHUAS ,OdIY YOISV,, *AXLSAdV | HONGXT “6c “ON 


ay ae 
i ee 


Fis 


430. FRENCH TAPESTRY: “PASTOR 
Fipo SERIES” Early XVII Century 
The second panel shows sILVIO TALKING WITH DORINDA, who is in 


love with him and who to win his grace gives him back his dog 


Melampe very devoted to him. The scene is taking place in the 
open, against a landscape background, in front of a large tree. 


Silvio, dressed in the same way as in the first panel, is bent toward 


his dog, which he is most happy to get back, while Dorinda stands 
next to them at the right. | 
A border formed of a central medallion, of cartouches, scrolls of 
flowers and leafage, and bunches of fruit and flowers, frames the 
tapestry. 

Height, 13 feet-1 inch; width, 12 feet 11 inches 


[Companion to the preceding and following | 


[See illustration] 


306 


j 
4 


See Se Site Mee aera 


he 


¥ 


Rhee 


Y AEs a < SS, we ay . ~~, SEEN T= %, : 
s se, 3 \ f : y! | 7: 5 P . Sen? 6 Sou 4 - , ; © # 7.4 $ 3 
oo SE tN it OT NS a tttlcmmmaatanetdin : — so - , —: 


No. 430. FRENcH Tapestry: ““PAsToR Fipo”’ SERIES 


431. 


FRENCH TAPESTRY: “PASTOR 
Fipo” SERIES Early XVII Century 
The third panel shows AMARILLIS AND CORISQUE, the former tell- 
ing the latter how little she was inclined to marry Silvio and telling 
also of her inclination for Mirtil. The scene is laid in the open, 
the conversation taking place under a tree. The same kind of border 
as in the second panel frames the tapestry in the upper and lower 
sides, while at the sides are no borders. | 
Height, 12 feet 91% inches; width, 6 feet 6 inches 


[Companion to the preceding and following | 


[See illustration | 


308 


sy nore 4 ga Se 


No. 431. Frencn Tapestry: “Pastor Frpo" SERIES 


432. 


FRENCH TAPESTRY: ‘PASTOR 
Fipo”’ SERIES Early XVII Century 


The fourth tapestry represents THE BLINDFOLDED AMARILLIS accom- 
panied by several other young shepherdesses. In front, at the right, 
is Mirtil, induced by Corisque to take advantage of the situation 
and make love to Amarillis. ‘The scene is laid against the same kind 
of landscape background as in the preceding panels and shows a 
border identical to the one of the third tapestry. 


Height, 12 feet 9% inches; width, 6 feet 6 inches 


The tapestries are of a very fine quality, the colours blending harmoniously 
and silver threads having been used to enhance their beauty. They belong 
to the same type as the tapestries representing the Story of Gombaut and 
Macée woven over and over again on the French looms and elsewhere [see for 
comparison Fenaille: “Etat général des tapisseries de la Manufacture des 
Gobelins,” vol. I, p. 222]. 

A series of six hangings from the story of “Pastor Fido” from the seven- 
teenth century is in the Geoffroy Collection at Saint Maxent [Deux-Sévres]. 

The inventory of the “Mobilier de la Couronne” from 1665 mentions, 
among other hangings, a series of 26 pieces from the Story of “Pastor Fido,” 
and M. Fenaille in the work mentioned above gives a detailed description of 
most of them [vol. I, p. 225-230]. 

One of this series exists in the Royal castle of Henri II in Pau. 


[Companion to the preceding | 


[See illustration ] 


310 


ee ee al 


ts 


244 


No. 432. Frencu Tapestry: ‘Pastor Fino” SERIES 


433. Tapestry REPRESENTING THE DEATH oF MArc- 
ANTONY, FROM THE STORY OF ANTONY AND 
CLEOPATRA Flemish, late XVII Century 


The scene is laid in the open, against a landscape background. 

At the left is seated Cleopatra, in a dark blue gown and a cream 

floating drapery. ‘The dying Antony, in a blue armour and red 

drapery, is seen reclining against Cleopatra and supported by her. 

One of the two ladies, assisting at the scene, is wiping her eyes, while 

several emissaries, with turbans on their heads show painful expres- 

sions in observing the scene. In the foreground, at the left is 

lying the feathered casket and the shield of Antony, while in the 

center, in the far distance, are warriors on horseback, and below a 

brown vessel and plate. A border showing a yellow ground strewa | 

with flowers in various colors, diversified with birds, frames the 

tapestry on three sides. , 
Height, 10 feet 14% inches; length, 11 feet 


In the Metropolitan Museum, there is a set of tapestries from the Story of 
Antony and Cleopatra composed of five hangings, from about the same period. 


[See illustration | 


Aes 


LAPEER EAP ALBA 


APESTRY 


~ 


I 


SH | 


EMI 


433. FI 


O 


N 


oe ‘ \ ¢ i tee ee = ae 


et oe 


434. Tapestry REPRESENTING: AN Episope FROM THE Sro 
OF ERYSICHTON | AND Mestra ey - Flemish, 


cece, imploring him not to Sannone aoe weile nee | 
cutting a tree in a forest consecrated to her. She infli : 
punishment, with hunger. To satisfy his hunger, he sa 
his riches and came to the point of selling his own daught 3 
In the tapestry here reproduced we see Mestra in 
girdled around the waistline, kneeling in front of her ath 
sichton, imploring him not to dishonour her, while he with ¢ 
arms and wearing a deep blue mantle over a red gown, ‘is 


ier, 5" 


his head, Sue his torment. Ladies and a 


Two large bene showing the same AG oat ‘aonaaanine 
representing the whole p story of Erysichton and Mestra, _were fonpedly fo 


Somzée Collection, 1901, Ale 25-26, n° 531-532]. 


[See Gseeaiea 


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No. 43 


435. 


436. 


no) I 


RUGS 


ANTIQUE Asia. Minor PRAYER RUG 


KouLA WEAVE 7 3 Late XVII Century : 


Fine pile. The prayer niche, lustrous old red body colour, and soft 
green mihrab spandrel, with symbolic floral devices. Seven es 


‘in red, ivory, golden-yellow and sky-blue colours. 


~ Length, 5. feét S inches; width, 3) feet of ‘ches 


PERSIAN RucG, SHIRAZ WEAVE — XVIT Century 
The field of brilliant ivory, background with geometrical pattern 
in various colours, serpentine corners, in the borders of red, brown 
and blue a display of rosettes and leaf patterns, lustrous pile. 


Length, 5 feet 10 inches; width, 4 feet 2 inches 


HispANo-MoORESQUE RUG . 2 bate XVI Century 


Woven in Cuenca, with pattern and colours well preserved. ‘The 
central panel has a honey-coloured field on which is woxen a lozenge 


shaped design of green and gold interspersed with small nondescript 
units of bright blue. Separating the panel from the rug border is — 


an edging of minute flowers. The border is wide, for in rugs as 
in tapestries, the width and importance of the border increases with 
the lateness of the weaving. The pattern includes candelabra, acan- 
thus leaves, heraldic lions, all drawn together by a zig-zag stem 
worked in old-gold and blue on a dark green field. The rug has 


been restored but retains much of its original freshness of color, 


Length, 7 feet 10 inches; width, 4 feet 6 inches 
[See illustration ] 


316 


ea. PSs a 


senile ae 


ni paps 


a et 


aoe 


SCAM EH ey NDNNRIIEN EN 


438. 


439: 


440. 


Caucasian Ruc, Mosut WEAVE XVII Century 
The field of typical bright red with geometrical pattern in ivory, 


old-rose, dark green and blue. Six borders, in white, brown, old- 6 


rose and yellow, with scrolls and rosette pattern. 


Length, 7 feet 6 inches ; width, 4 fect be feels 


PERSIAN RuG, FEREGHAN WEAVE Late XVII r Coty 


Brilliant blue field, uniformly covered with a conventional pattern 
of small scrolls, in the shape of typical flower pots with palmettes 
and trees in deep ruby-red. Six borders, in ivory, red, golden- peow 
and brown, with small floral designs. 

Length, “ feet; width, 4 feet 


Hispano-Moresque RuG . Early XVI Century 
Important rug from the looms of Alcaraz in the most Mudejar part 
of the old Kingdom of Aragon. In weave, pattern and colour, this | 
is a companion piece to the larger rug No. 447. The earliest and 
best examples of Hispano-Moresque rugs were woven at Alcaraz. 
JLater, in the seventeenth century, the industry was centered in 
Cuenca, in New Castile, for which reason rugs of this period are 
often called alfombras de Cuenca. In the present case we have 
the classic combination of miel y azul, that is, honey and blue, the 
former serving as the background, the latter for the woven pattern. 
In design the rug is laid out with a central panel surrounded 
by a narrow border [characteristic of the oldest examples.] The 


' principal motif in the panel is a curious kite-shaped cartouche which 


is repeated up the center and at the sides; this is woven in bright 
blue. Scattered at random over the field are little units of nonde- 
script form. ‘The border consists of a dark green field on which 
is woven in honey-colour a variety of the bean and pod pattern. The 
rug has never been restored and is in fair condition. 


Length, 12 feet; width, 6 feet 


[See illustration ] 


318 


. 440. Hispano-Moresqu RuG 


No 


441. 


442. 


443. 


HispANO-MORESQUE RUG — Xan Century — 


Fine example, complete, unrestored, and in good condition. ‘The 


border is intact, seventeen inches wide on the sides and twenty-two __ 
on the ends. The colour combination consists of the prevalent honey- 
coloured ground of the period, the pattern mainly in blue, with 
touches of green, white, and orange. In the central panel are two — 
large motifs, a sort of blue vase in outline, with a conventionalized — 
plant motif in the middle, The field is filled with outlined designs > 
that faintly suggest birds, rabbits, and foliage. The border theme 


is formed of a running tendril pattern worked in blue, from which 


branch out leaf and fern forms in green, white and deep yellow. © 


The rug is compactly woven with the knots at fine scale. 


Length, 10 feet 4 inches; width, 5 feet 6 inches 


SMALL HispANO-MoRESQUE RUG XV Century. 


Rare example of Hispano-Moresque rug, unrestored and in good 


condition. Adorned with a narrow border six inches wide: “he 


general tone of the background is a rich salmon red on which is set 
out in strong blue a repeat pattern based on a diagonal lattice. In 
the center of each lozenge-shaped panel is a conventionalized acan- 
thus leaf, spiky in outline after the Byzantine manner. Red and 


i —_——_ on a - 
eN , a . aS ae no 
“= 7 ae “tyre i i ar 2 
a) Se . 5 
os — BPO ep . + 


yellow appear in the border, the design consisting of a continuous 


nondescript pattern, reminiscent of old inscription borders. The 
weaving is compact and the knots are fine in scale. 


Length, 9 feet; siden 4 feet 6 inches ; 


LARGE ALCARAZ RuG AVIL Century 


A well preserved Alcaraz rug of choice colour with large-patterned 
border. ‘The general scheme consists of a rich salmon red back- 
ground interspersed with a varigated pattern dominated by five car- 


touches woven in blue. These cartouches are repeated in part at the 


edge of the central panel. ‘The remainder of the design consists 
mostly of smaller cartouches, also in blue, and a loose rambling 
foliated pattern in pale green edged with black; notes of white, 


pale blue, and yellow, occur at random. ‘The border is wide, com- 


posed of narrow bands filled with flowers and geometric forms, be- 
tween which runs a wide panel of rosettes and a sort of swastika. 
Here the colour combination is just the reverse of the center—a blue 

[ Continued | 


320 


It is to be noted that two outer strips have been woven to the 
length of the rug in modern times; otherwise the original weaving 
has not suffered in any way. 

Length, 15 feet; width, 12 feet 


LARGE HisPpANO-MoRESQUE RUG WITH 
Wipe BorpdEeR XVII Century 


This important carpet made on the looms of Cuenca came from 
a large Collegiate Church in the province and is remarkable among 
Spanish rugs for its size. The town of Cuenca, situated approxi- 
‘mately half-way between Madrid and Valencia, was the center of 
rug weaving in Spain during the sixteenth, seventeenth and eighteenth 
centuries, absorbing the industry of Alcaraz, Teruel and other weav- 
ing towns, and following a well established Moorish tradition of 
earlier date. 

The general colour scheme is the favorite combination of miel y 
azul,—honey and blue, the first-mentioned forming the background 
and the second the pattern, with minor notes of yellow, green and 
white. In design the carpet is laid out with a general repeat motif 
in the central panel, surrounded by a wide border in which bird and 
floral forms have been angularized in the conventional manner. The 
border is framed on its inner and outer edges by hands of serrated 
ornament. ‘The design of the central panel consists, broadly speak- 
ing, of a series of square panels in the middle of which is a polygonal 
figure outlined in white. Within this latter the pattern is reduced 
to small scale, and though it is undoubtedly based on floral ara- 
besques it has become so geometric that the original floral character 
is almost lost. In one direction the squares are separated by broad 
bands which break out into lozenge-shaped figures filled with a tri- 
angular device; in the contrary direction the squares are merely 
separated by a tenuous blue figuration which joins up with the 
broader band just described. The whole central repeat makes a 
most satisfactory design, restful in drawing and harmonious in 
coloration. The carpet has never been restored, the colours are 
beautifully preserved, and the fabric, with the exception of some 
minor breaks, is in sound condition. Carpets very similar are still 
in use in the cathedrals of both Cuenca and Siguenza. 


Length, 17 feet 6 inches; width, 16 feet 


321 


® 
« 
al 


44.5. 


446. 


- responds approximately to the width of the panel. It encloses a 


Larce RuG oF PERSIAN PATTERN © | XVII Century 


Imposing rug with dominating central motif and wide border. In 
design and coloration this example is a departure from the ‘more | 
usual combinations woven at Cuenca. In this instance the back. a 
ground is made up of blue and red with the pattern woven in grey- 
ish green and cerulean blue outlined in white. The large central ) 
motif is circular in form with serrated edging and in diameter cor- a 


cuatrefoil of Oriental design, the space between the two forms be- = 
ing filled with rich patterning of light blue and red on a dark green 
field. Here, too, the silhouette of the design is picked out in white. 
Beyond this dominating central motif the entire field of the panel 
is of rich red covered in part by a minute arabesque of dark blue and _ 
Eastern forms woven in a neutral grey-green and edged with white. 3 
The border is particularly wide and edged with two bands of geo- 
metric patterning. The broad panel between consists of a bold 
combination of red roses mingled with green flowers and leavesona _ 
téte de negre field. ‘The rug is heavily lined and in excellent con- 
dition. 


Length, 18 feet 6 inches; width, + feet 


Damascus RvuG | Asia Minor, XVI Century 
Cherry-red field, woven with conventionalized fringed lotus blos- 
soms, large flower heads and particolored herati leaves, in emerald, 
sapphire-blue, tans and ivory; at one end a bluish green arched com- 
partment with two large infloretted red tulips; border with fimbri- 
ated peony palmettes enclosed between curving herati fronds in a 
cherry-red ground rosetted and pinnacled guards. 


Length, 9 feet 8 inches; width, 6 feet 


[See illustration ] 


Ba22 


o —— oe fe 
ete Pee a, Me RS RR ee A 


_ 


ASK 


ded 


ve 


i 


vii 


447. 


LarGe HispANo-MorEsQquEe RuG Early XVI Century — 
An important early carpet from the looms of Alcaraz. This Ara- — 
gonese district is where the earliest, and incidentally the finest, His- 
pano-Moresque rugs were woven. Later, in the seventeenth century, — 
the industry was centered in Cuenca and to-day these later rugs are 
known in Spain as alfombras de Cuenca. Sr. Stuyck, Director of 
the real Fabrica de Tapices | in Madrid, declares this rug and the 
smaller companion piece Number 440, to be the best period of 
Spanish rug-making and unsurpassed in colour and design. The 
general colour scheme is the classic Spanish combination of miel y 
azul,—honey and blue, the same that runs through the old linen 
embroideries and weavings. The honey-colour forms the background 
and the blue the pattern. se 
In design the carpet is laid out. with a large central panel sur- 
rounded by a narrow border. The repeat unit in the panel isa 
curious kite-shaped cartouche which extends up the center and is — 
repeated once on each side. The space in between is filled witha 
version of the bird motif combined with a nondescript plant form. 
Scattered over the honey-coloured field are little blue and green 
rosettes outlined in white. In the center of each of the blue car- q 
touches 1s a conventionalized acanthus bulb blossoming into flower. Z| 
The narrow border surrounding the rug is twelve inches wide and  ~ 1] 
separated from the panel by a continuous Oriental dog-tooth motif. _ 
An adaptation of the bean and pod motif forms the basis of the — 
border design; here the field is dark green with the pattern woven 
in honey and light butt. 

The rug has never been restored and its general condition is 
good [due to the compactness of the knots], though certain repairs © 
are necessary, one end border having been cut away. The colours 
are as fresh as when first woven. 


Length, 17 feet 8 inches; width, 14 feet 6 inches 


[END OF THIRD AND LAST SESSION] 


324 


\ 


AEE RAISALS FOR 

MNITED SPATES 6& STATE TAX 

- INSURANCE & OTHER PURPOSES 
CATALOGUES OF PRIVATE 

COoLLEGTIONS 


CATAN™, 5 


. HE American -Art Association, Inc. will 

furnish appraisements, made by experts under 
its direct supervision, of art and literary property 
and all personal effects, in the settlement of estates, 
for inheritance tax, insurance and other purposes. 
QThe Association is prepared to supplement 
this appraisal work by making catalogues of pri- 
vale Libraries, of the contents of homes or of entire 
estates, such catalogues to be modeled after the fine 
and intelligently produced sales’ catalogu s of the 
cAssociation. @.Upon request the Association 
will furnish the-names of many trust and insurance 
companies, executors, administrators, trustees, 
attorneys and private individuals for whom the 
eAssociation has made appraisements which not 
only have been entirely satisfactory to them, 
but have been accepted by the United States 
Estate Tax Bureau, the State Tax (Commission 
and others in interest. 


AMERICAN ART ASSOCIATION - INC 


cMadison Avenue at 57th Street 
NEW YORK 


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